Hindi
Morbid love story strikes cord with movie goers
MUMBAI: Aditya Roy Kapoor and Shraddha Kapoor starrer Aashiqui 2 did very well through its first weekend to collect Rs 177.5 million.
Hussain Kuwajerwala‘s Bollywood debut Shree turned out to be a non-starter.
Balaji Telefilm‘s horror flick Ek Thi Daayan collected Rs 231 million in its first week. The general feeling from public is that the film needed at least one popular female face out of the three featured in the film.
Action flick Commando – A One Man Army had a reasonably decent second week with collections of Rs 35 million, taking its two week total to Rs 208.5 million.
‘Dramdey‘ Nautanki Saala collected Rs 36.5 million in its second week; with this, the film‘s two week total stands at Rs 205.5 million.
Chashme Baddoor was good in its third week. The film added Rs 25 million for the third week to take its three week tally to Rs 419.5 million.
Himmatwala added Rs two million for the fourth week taking its four week total to Rs 432.5 million.
Jolly LLB added Rs two million in its sixth week to take its six week total to Rs 314.2 million.
Hindi
Remembering Gyan Sahay, the lens behind film, television and advertising
From a puppet rabbit selling poppadums to Hindi cinema, he framed it all.
MUMBAI: There are careers, and then there are canvases. Gyan Sahay, the veteran cinematographer, director, and producer who passed away on 10 March 2026 in Mumbai, had one of the latter. Over several decades in the Indian film and television industry, he turned lenses, lights, and the occasional puppet rabbit into something approaching art.
A graduate of the Film and Television Institute of India (FTII) in Pune, Sahay built his reputation as a director of photography across a career that stretched from the early 1970s all the way to the digital age. He was the kind of craftsman who understood that a well-composed shot is not merely a technical achievement but a quiet act of storytelling.
For most Indians of a certain age, however, Sahay will forever be the man behind the rabbit. His direction of the iconic long-running television commercial for Lijjat Papad, featuring its now-legendary puppet bunny, gave the country one of its most cheerfully persistent advertising images. It was the sort of work that sneaks into the national subconscious and takes up permanent residence.
His big-screen credits as cinematographer include Anokhi Pehchan (1972), Pagli (1974), Pas de Deux (1981), and Hum Farishte Nahin (1988). In 1999, he stepped behind a different kind of camera altogether, making his directorial debut with Sar Ankhon Par, a drama that featured Vikas Bhalla and Shruti Ulfat, with a cameo by Shah Rukh Khan for good measure.
On television, Sahay was particularly prized for his command of multi-camera production setups, a skill that made him a go-to technician for large-scale shows and reality programmes. In an industry that has never been especially patient with complexity, he was the calm hand on the rig.
In later life, Sahay turned teacher. He participated regularly in masterclasses and Digi-Talks, often hosted by organisations such as Bharatiya Chitra Sadhna, sharing hard-won wisdom on cinematography, the comedy of timing in a shot, and the sweeping changes brought by the shift from celluloid to digital. He was also said to have been involved in a project concerning a biographical film on Infosys co-founder N.R. Narayana Murthy.
Tributes from the film industry poured in following the news of his passing, with colleagues remembering him as a senior cameraman who served as a rare bridge between two entirely different eras of Indian cinema. That is, perhaps, the finest thing one can say of any craftsman: he kept up, and he brought others along with him.
