Hindi
RGV and John Abraham fail to weave BO magic
MUMBAI: Ram Gopal Varma’s ‘The Attacks Of 26/11‘ has been a wasted attempt to relive the Mumbai terror attacks of 2008 and, looking at the poor response it got at the box office, people did not seem keen to be reminded of it. The film collected about Rs 52 million in its first weekend.
John Abraham, Chitrangadha Singh and Prachi Desai starrer ‘I Me Aur Mein‘, which is an attempt to portray a modern day love triangle keeping the youth in mind, has also not been appreciated by the audiences. The film managed to collect only Rs 52.3 million for its opening weekend.
Abhishek Kapoor’s cinematic adaptation of Chetan Bhagat’s bestselling novel Three Mistakes of my Life Kai Po Che sustained due to metro multiplexes and collected Rs 282 million. The film added another Rs 85 million in its second weekend to take its ten-day box office total to Rs 367 million.
Zila Ghaziabad fared poor and collected Rs 137 million in its first week.
Murder 3 collected Rs 15.5 million for its second week to take its total to Rs 187 million.
Special 26 continued to be steady. The film collected Rs 62 million in its third week to end with a scorecard of Rs 663 million.
ABCD: Any Body Can Dance also maintained collections and added Rs 22.5 million in its third week. The film has so far netted Rs 391.5 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.
