Hindi
Prem Ratan Dhan Payo ends extended weekend with Rs 129.77 crore
*Prem Ratan Dhan Payo, as expected, made the most of an early start with its release a day earlier on Thursday, to cash in on Diwali festival weekend, The Suraj Barjatya-Salman Khan combine as well as its solo release status worked in its favour and the drought of major release for some time brought the film the biggest first day figure ever at the box office as the film collected a record Rs 41 crore on Thursday. The not so good word of mouth affected the collection and footfalls on day two, Friday as the film dropped by over 25 percent and collected Rs 30 crore. On Saturday, the film collected a little less over its Fridayfigures and could not grow on Sunday finally ending its four day weekend with Rs 129.77 crore.
*Charlie Ke Chakkar Mein, a poor thriller with Naseeruddin Shah playing an investigator trying to track down a cache of cocaine and related murders, had the makings for a tedious watch. The film bombed badly falling short of even Rs one crore mark with just Rs 80 lakh trickling in.
*Ranbanka, with Ravi Kishen in the lead, was expected to help the makers make a decent box office in UP and Bihar, belied expectations. The film managed to collect just Rs 10 lakh in its first week nationally.
*Yaara Silly Silly and Four Pillars Of Basement collected just Rs 15 lakh and Rs 25 lakh, respectively, in their first week.
*Titli collected 40 lakh in its second week taking its two week total to 2 crore.
**Main Aur Charles had a poor second week managing to collect just Rs 90 lakh to take its two week total to Rs 6.5 crore.
*Shaandaar added Rs 25 lakh in its third week to take its three week tally to Rs 35.25 crore.
*Pyaar Ka Punchnama held strong in its fourth week by collecting Rs 2.45 crore and takes its four week to Rs 61.15 crore.
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.
