Hindi
Previous releases continue to rule box office as new releases fail
This has been another week of disappointments. Two new releases in Ajay Devgn starrer Baadshaho and Ayushmann Khurrana’s Shubh mangal Saavdhan, have failed to meet the expectations. Though the films opened with poor response, both got the advantage of Saturday being a Bakra Eid holiday.
Coming as it came from director Milan Luthria and his regular writer Rajat Arora, one familiar with the trade expected a lot from the film Baadshaho. The film can easily be rated as the worst from the duo. This despite the fact that Milan has directed eight films before this and was a co-producer here. But, alas!
Shubh Mangal Saavdhan promised little and did just that. Aayushman Khurrana and Bhumi Pednekar have not been able to emerge from their initial success. Still passing off the same expressions as acting does not work for either.
The film could have thrived from the mere contradictions 0f a man used to having fun with other women suddenly discovering at the age of 26 when he meets a girl he loves, that he suffers from an erectile dysfunction!
Hence, save for the Eid holiday and the baasi Eid falling on Sunday which may help augment the collections, theMonday test will be tough for both the films to live up to.
*Baadshaho, which opened with a little over Rs 100 million, added a bit on Saturday cashing in on the Eid crowd. The weekend was fair with the post Eid crowd to help as the film collect Rs 354 million for the weekend. The film will find it tough to hold through rest of the week.
*Shubh Mangal Saavdhan had a poor opening. It gained a little on Saturday and Sunday being Eid weekend, it ended up collecting Rs 133.5 million for its opening weekend.
*A Gentleman fails badly as the film managed to collect just Rs 155 million in its first week.
*Babumoshai Bandookbaaz fared poorly and collected Rs 68 million in its first week.
*Sniff managed to collect about Rs 10 million in its first week.
*Barreilly KI Barfi holds reasonably well in its second week to collect Rs 73 million taking its two week total to Rs 288 million.
*Toilet Ek Prem Katha held very well in its third week by collecting Rs 65 million to take its three week tally to Rs 1.267 billion.
*Mubarakan has added about Rs two million in its fifth week to take its five-week total to Rs 566 million.
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.
