Hindi
‘Rustom’ beats ‘Mohenjo Daro’; collects Rs 90 cr
MUMBAI: Happy Bhag Jayegi a comic romance with yet another story on India Pakistan integration, find favour with metro audience catering to select multiplex crowd. With a good word of mouth, the film’s addition to its opening day figures is noticeable. The film opened with Rs 2.3 crore on Friday and doubled that on Sunday to end its opening weekend with a total of Rs. 10.45 crore.
UnIndian remains poor.
Rustom pitted against what was expected to be a spectacular drama woven around the ancient civilization of Mohenjo Daro, not only starts off with a terrific opening response but also goes onto to win much appreciation from the audience.
The film, which opened with Rs 14 crore on day one, went on to consolidate over the weekend also making the most of the Independence Day holiday on Monday, the 15th August and remained steady for the next three days, again getting some advantage on the Raksha Bandhan holiday on Thursday, in parts of India, to finish its first week with Rs 89.5 crore.
Mohenjo Daro, an ambitious looking film promising much but, as it turned out, had nothing to do with its title or the period it promised to present on screen. In fact, the film turned out to be an attempt to palm off a B grade Bahubali vs a simple noble hero story that showed no sense of script or execution.
The moviegoer rejected the film from day one as the film’s opening remained poor. The film had an opening of 8.8 crore on day one with the weekend showing little improvement. The Independence Day holiday on Monday helped little as the film ended its first week with a total of Rs 49.2 crore. The film is a major setback financially.
Budhia Singh- Born To Run collects Rs 2.25 lakh in its second week to take its two week total to Rs 2.15 crore.
Dishoom adds 60 lakh for its third week to take its three week total to Rs 65.2 crore.
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.
