Hindi
Satyagraha ends with Rs 32.5 crore for opening weekend
Prakash Jha’s preachy socio-political film Satyagraha lost the plot as it came into its later part which refused to move and marred the film. The mass single screen cinemas were the first to reject the film. At high end multiplexes the film did well over Saturday and Sunday as its solo release status and face value propped it up and the film ended its opening weekend with Rs 32.5 crore.
This is Prakash Jha’s yet another attempt at addressing the citizens of India to rise up and bring about a revolution. The film has an ensemble cast: Amitabh Bachchan, Ajay Devgn, Manoj Bajpayee, Arjun Ramphal, Kareena Kapoor and Amrita Rao among others.
Madras Café starring John Abraham and Nargis Fakhri has not worked with the audience as, after a weekend of Rs 18 crore, the film has settled for Rs 31.45 crore for the first week. The makers of the film are now planning to request for tax exemption considering the message being delivered by the film.
Once Upon A Time In Mumbai Dobara the sequel to Once Upon A Time In Mumbaai starring Akshay Kumar, Imran Khan and Sonakshi Sinha has done a little over 10 per cent of its first week collection by adding Rs 5.75 crore and taking its two week tally to Rs 54.55 crore.
Chennai Express that paired Shah Rukh Khan and Deepika Padukone once again after Om Shanti Om has done fairly well in its third week by collecting Rs 16 crore to take its three week total to Rs 194.7 crore.
B.A. Pass has collected Rs 35 lakh for its fourth week to take the total to Rs 7.4 crore.
Bhaag Milkha Bhaag the biopic on the great Indian athlete Milkha Singh starring Farhan Akhtar and Sonam Kapoor has added Rs 50 lakh in its seventh week to take its seven week total to Rs 106.85 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.
