Hindi
Shruti Haasan scores a double whammy this Friday
MUMBAI: Bollywood releases for this Friday, 19 July are – D-Day and Ramaiya Vastavaiya. D-Day is an intense action film, while Ramaiya Vastavaiya is a mix of romance and comedy.
Both movies feature Shruthi Haasan in the cast, which is a rare incidence in Bollywood by any standards. Shruti Haasan is playing a role of an ordinary village girl in Ramaiya Vastavaiya and a prostitute in D-Day.
Ramaiya Vastavaiya is a musical romance movie and a remake of Prabhu Deva‘s directorial debut Telugu blockbuster Nuvvostanante Nenoddantana. Directed by Prabhu Deva, the movie introduces Girish Kumar, son of producer Kumar Taurani and Shruti Haasan plays the lead lady opposite Girish.
 |
Whereas, directed by Nikhil Advani, D-Day is an Indian crime-thriller starring Arjun Rampal, Shruti Haasan, Irrfan Khan and Huma Qureshi in pivotal roles.
D-Day is the story of four modest protagonists, all with varying background stories and a common mission that brings them together on foreign soil to execute one such mission.
With both films in different genres releasing on the same day, let us see on Friday how they are going to be received by the audience.
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.
