Hindi
Reliance Entertainment, Rohit Shetty announce a biopic on Mumbai cop Rakesh Maria
Mumbai: Reliance Entertainment and Rohit Shetty collaborate to produce a biopic on one of Mumbai’s most revered top cops and former Commissioner of Police, Mumbai, Rakesh Maria. The biopic will be based on the experiences of his accomplished career and will be mentored by the ace filmmaker, Rohit Shetty himself.
Talking about the announcement, Rohit Shetty producer & director said, “Rakesh Maria: The man who stared terror in the face for 36 years!! His incredible journey spans all the way from the 1993 blasts in Mumbai, the underworld menace, to the 26/11 Mumbai terror attacks in 2008. Feel truly honoured to be bringing this real-life super cop’s brave & fearless journey to the screen!!”
Rakesh Maria, an IPS officer, cleared his civil service examination from the 1981 batch. As Deputy Commissioner of Police (Traffic) in 1993, he cracked the Bombay serial blasts case, and later moved to DCP (Crime) and then joint commissioner of police (Crime) of the Mumbai Police.
Maria solved the 2003 Gateway of India and Zaveri Bazaar twin blasts case. He was also given the responsibility of investigating the 26/11 Mumbai attacks in 2008 and interrogated Ajmal Kasab, the only terrorist captured alive, and successfully investigated the case.
Rakesh Maria commented, “It is exciting to relive the journey, especially when piloted by a brilliant director like Rohit Shetty. More than the nostalgia, it’s also a valuable opportunity to place before the people the extraordinary work of the Mumbai Police when facing tough challenges and working against all odds.”
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.
