Hindi
Prakash Jha’s ‘Jai Gangaajal’ to release on 4 March, 2016
MUMBAI: Prakash Jha’s next film Jai Gangaajal, starring Priyanka Chopra in the lead is all set to release worldwide on 4 March, 2016.
Jai Gangaajal is the sequel to Gangaajal, which featured Ajay Devgn as the police officer with a conscience. The movie told the story of how a society gets the police it deserves.
Thirteen years later, with Jai Gangaajal, Jha revisits the dusty heartland of North India, and examines again the society-police relationship to tell us a new story.
This time, Chopra will be playing Abha Mathur, the new SP in town, who will raise wrestle with her conscience. Mathur is posted in the district, because as a woman she will perhaps be pliable, easily manipulated and thus not disturb the entrenched nexus of the town.
“Much has changed in the last 13 years. When I made Gangaajal 13 years ago, the dictum was that every society gets police that it deserves. But the scenario has changed since then. Today the cops follow the dictum of inaction is virtue and efficiency is crime,” said Jha.
The movie also stars Manav Kaul, Rahul Bhat, Murli Sharma and Ninand Kamath.
Written and directed by Jha, Jai Gangaajal has been produced by Prakash Jha Productions and Play Entertainment.
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.
