Hindi
Neeraj Pandey’s ‘Ghalib Danger’ soon to be a major motion picture
MUMBAI: Abundantia Entertainment and Neeraj Pandey recently announced a strategic deal in which the former would acquire rights to remake the Neeraj Pandey penned, best-selling novel ‘Ghalib Danger’ into a major Hindi film. The deal aims at the creation of a franchise for brand ‘Ghalib Danger’ and also includes the acquisition of rights to adapt the book as entertainment content across multiple platforms spanning television, digital & online media, graphic novels and gaming.
After earning widespread critical and commercial acclaim for super-hit films like A Wednesday and Special 26, Neeraj Pandey turned author to pen the gangster saga ‘Ghalib Danger’. The book, which was launched in December 2013, met with instant success to attain best-seller status in bookshops across the nation and is underway with its second print run to cater to the ever-growing demand amongst readers and fans of Pandey’s work.
The book revolves around the life of its protagonist Kamran Ali. A young taxi driver by profession, Kamran stays in Mumbai and dreams of making it big someday. A twist of fate awaits him on an eventful day as his life transforms when he saves the notorious underworld don Mirza from near death at the hands of a rival gang. As an act of gratitude and faith, Mirza takes Kamran under his wing and thus starts the journey of a small-town boy becoming the feared and revered ‘Ghalib Danger’. The lead character is a complete work of fiction and the story itself draws upon extensive research on the genre conducted by Neeraj Pandey and his team.
Speaking on the announcement and plans for the franchise, Neeraj Pandey said: “It’s always wonderful to collaborate with like-minded people and Ghalib Danger was a fantastic opportunity for Friday Filmworks and Abundantia to come together. It will be interesting to see this content getting exploited across entertainment platforms.”
Talking about this development, Abundantia Entertainment founder and CEO Vikram Malhotra added: “Abundantia is founded with the vision to support and promote progressive and clutter-breaking content. The ability to adapt a best-seller like ‘Ghalib Danger’ into a major movie and to partner with Neeraj on the film represented a significant opportunity. The gangster-thriller genre that Ghalib Danger boasts of has met with consistent success across platforms and we are delighted that we will be able to bring alivethe book for its fans all over the world”.
In a first-of-its-kind deal, Abundantia would partner with Friday Filmworks to co-produce the film and also leverage on Pandey’s and Friday Filmworks’ capability to custom-create and adapt the book across content consumption platforms.
Production for the film is set to commence in the second-half of 2015 and is envisaged as a big-scale, ensemble cast entertainer.
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.
