Hindi
Once Upon a Time in Mumbaai Dobara not to come in way of Chennai Express
NEW DELHI: The title of director Milan Luthria‘s forthcoming movie Once Upon A Time In Mumbaai Again has been changed to Once Upon A Time In Mumbaai Dobara.
The romantic drama produced by Balaji Motion Pictures‘ will release on 15 August (Independence Day).
Shah Rukh Khan and Jeetendra spoke to each other and later a meeting was held between Jeetendra, UTV and Shah Rukh Khan – whose Chennai Express directed by Rohit Shetty is also due for release – to resolve the situation of both the movies releasing together, and find a win-win situation for all.
"Keeping in mind that both weekends (8 August and 15 August) are good times for film releases, Jeetendra Sir being the senior most showed the path. He took the decision to move OUATIM Dobara to 15 August. This is extremely graceful of him. UTV, Rohit and I are very happy with the decision made and we thank Jeetu sir and Balaji for the same. This should pave the way for such mature and sensible amicable understandings whenever two films release on the same day in future too," Khan said.
"My father and Shah Rukh spoke and have clearly worked out what is best for both the films. Both are big and keenly awaited and should not be made to eat into each other‘s business. I have huge respect for SRK and wish him the best," says Ekta Kapoor.
The film is a sequel to 2010 hit Once Upon A Time In Mumbaai, is produced by Balaji Motion Pictures.
Once Upon A Time In Mumbaai Dobara, starring Akshay Kumar, Imran Khan, Sonakshi Sinha and Sonali Bendre, was earlier releasing with Shah Rukh Khan‘s Chennai Express, but the clash has been averted now.
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.
