Hindi
PVR posts Q3 net profit of Rs 89 mn
MUMBAI: Delhi-based multiplex major PVR has reported a consolidated net profit of Rs 89.2 million for the three-month period ended 31 December 2011, compared to a net loss of Rs 132.6 million in the corresponding quarter of the previous fiscal.
Total income went up marginally by 4.01 per cent to Rs 1.39 billion, from Rs 1.34 billion in the year-ago period.
The company said that during the quarter it had 6.6 million footfalls in its cinemas, up 28 per cent from the corresponding quarter of last fiscal.
Admissions revenue jumped 15 per cent while food and beverage revenues have shown a growth of 40 per cent. Advertising and sponsorship revenues, too, went up 26 per cent over the corresponding period last year.
Meanwhile, total expenditure of the company declined 9.88 per cent to Rs 1.23 billion, as against Rs 1.37 billion a year ago.
The movie exhibition business saw a segment profit of Rs 164.4 million in the quarter as compared to a profit of Rs 142.6 million in the year ago period. The revenue from the segment was Rs 1.26 billion (from Rs 1.03 billion).
PVR deployed a capital of Rs 3.88 billion on the movie exhibition segment, as of 31 December 2011.
In the movie production and distribution segment, the company registered a segment profit of Rs 4.9 million, compared to a loss of Rs 178.2 million a year ago. Revenue from the segment stood at Rs 102.5 million (Rs 302.5 million in the year ago).
Capital deployed on the segment was Rs 1.07 billion, as of 31 December.
Shares of PVR closed 5.71 per cent down at Rs 138.90 on the BSE.
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.
