Hindi
‘Roy’ fails to grab eyeballs at the BO
MUMBAI: Roy does not quite go well with the moviegoer; a confusing film moving at snail’s pace with nothing happening through its lengthy trudge, the film had fair collections on the opening day thanks to names of Ranbir Kapoor and Arjun Rampal in the cast.
The film maintained about same figures on Saturday but suffered a huge drop of about 50 per cent on Sunday because of India Pakistan World Cup match. The film managed weekend collections of Rs 24.9 crore.
Controversial film MSG: The Messenger fails at the box office.
R Balki’s experiment of a ventriloquist played by Amitabh Bachchan landing his rich baritone to an aspiring mute actor, Dhanush, fails to catch the audience’s fancy. While Bachchan may still be a media star, casting him in such a film is tricky business, Dhanush has little to charm the Hindi audience. Shamitabh does not add much to its already deficient weekend, ending its first week with a figure of Rs 17.6 crore.
Baby continues to make the most of a run of poor oppositions over last three weeks. The film adds a reasonable Rs 6.5 crore in its third week to take its three week total to Rs 75.3 crore.
Khamoshiyan has collected Rs 75 lakh in its second week to take its two week total to Rs 6.5 crore. Forced horror film sans content don’t work. A disappointing outcome for the investor.
PK has added Rs 20 lakh in its eighth week. The film has put together Rs 329.95 crore in eight weeks.
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.
