Hindi
Rocky Handsome comes a cropper; Kapoor & Sons does well in second week
The only release of the week, Rocky Handsome, came a cropper. A poor adaptation of the hit South Korean film, The Man From Nowhere, RH is so poorly recreated in Hindi that it works for nobody; neither its wannabe re-launch planning actor, John Abraham, nor its director who uses the vehicle to launch his acting career. The film is a blot on its scriptwriters and the director. To sum it up, the whole exercise looked juvenile.
The film got the benefit of a solo release as well as a public holiday on Friday, the 25th to garner a face-saving opening. But, it registered a drop on the Saturday that followed as word of mouth went negative and collections nosedived on Sunday. It ended its opening weekend with a total of Rs15.3 crore.
Kapoor & Sons has established itself as family fare. After a good opening weekend, it continued to do well through rest of the week to end its first week with a healthy Rs46.8 crore.
TeraaSurroor remained poor even in its second week. In the absence of any appreciation, the film managed to add just about Rs20 lakh to take its two week tally to Rs10.9 crore.
Jai Gangaajal is at the end of its run at the end of its third week. It collected Rs 1.05 crore to show collections of Rs31.95 crore for its three week run.
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.
