Hindi
National Film Museum to finally open next week in Mumbai
NEW DELHI: The long-in-the-making National Museum of Indian Cinema (NMIC) showcasing India’s rich film heritage over the past 100 years will finally open in Mumbai next week to coincide with the Mumbai International Film Festival for shorts, documentaries and animation films.
Information and Broadcasting (I&B) Minister Manish Tewari will be the chief guest at the opening of the Festival on 3 February.
“As the Indian cinema enters a new century, the national museum of Indian cinema coming up in Mumbai is a small tribute of the Ministry to the great film heritage of India. We have also launched a Rs-600 crore National Film Heritage Mission to digitise best of Indian cinematic works and archive them for the benefit of future generations,” said Tewari recently while outlining various steps taken by the government to promote cinema in India.
The Minister also reviewed the preparations for the museum’s inauguration with Films Division officials and experts. The inauguration will coincide with the Mumbai International Film Festival for short, documentary and animation films that commences on 3 February.
The National Museum of Indian Cinema is situated in the 6,000 square-foot Gulshan Mahal – a heritage building on Pedder Road in South Mumbai. Gulshan Mahal’s interiors have been refurbished to house an interactive walkthrough down cinema’s memory lane. It is part of a larger complex of 50,000 sqft that will come up in phases.
The museum will be a ready-reckoner of the history of Indian cinema showcasing technological aspects of production and screening of films, as well as its social aspects during the past 100 years. Through its interactive galleries, it will trace the evolution of celluloid from the Lumiere Brothers, Raja Harishchandra onwards, and showcase Indian cinema in three stages – silent era, golden era and the modern era. It will portray the footsteps taken by Indian cinema, from the period of silent films to the studio period, and then recreate the times when stars and mega stars dominated the silver screen.
An Advisory Committee headed by renowned filmmaker Shyam Benegal has guided the Films Division in establishing the museum.
Visitors can also watch clips of old classics on a number of monitors or listen to rare film music from the past. There is also an interesting collection of posters of landmark movies from across India. A section on regional cinema is also on display.
Many famous studios of yesteryears like Mehboob Studios, RK Studios and Prasad Studios have donated equipment to the museum. Some private collectors too have come forward to donate items. The Films Division, which was set up in 1941, to produce short films to disseminate information during war time, has also displayed old Eymo and Mitchel cameras, recording equipment etc. Also of interest are some older instruments that created an illusion of movement, which were precursor to the movie camera.
NMIC has been curated by the National Council of Science Museums, Kolkata, under the Ministry of Culture, which manages 55 various kinds of museums in the country.
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.
