Hindi
Shuddh Desi Romance wins hearts, collects Rs 22.2 crore
Zanjeer, the supposed remake of the 1973 film by Salim Javed of the same name, which in turn was inspired by the 1967 Hollywood spaghetti Western, Death Rides A Horse, which went on to become a classic hit, was adapted by Apporva Lakhia and so mutilated that it has turned out to be a disaster that it deserved to be. From its poor casting to mediocre execution the film lacked on all counts, accounting for a poor Rs 9.45 crore for its opening weekend.
Shuddh Desi Romance, a small budgeted entertainer catering to the thoughts of the contemporary youth, seeking company, relationship and sex sans commitment has worked well and is on its way to becoming a hit. The Sushant Singh Rajput, Parineeti Chopra, Vaani Kapoor and Rishi Kapoor starrer has collected Rs 22.2 crore.
Madras Café starring John Abraham and Nargis Fakhri has not worked with the audience as it collected Rs 8.1 crore in its second week to take its total to Rs 39.55 crore for two weeks.
Once Upon A Time In Mumbai Dobaara has earned the flop title, adding just Rs 50 lakh in its third week to take its three week total to 55.05 crore.
Chennai Express that paired Shah Rukh Khan and Deepika Padukone once again after Om Shanti Om has collected Rs 4.7 crore in its fourth week to take its four week tally to Rs 199.4 crore.
B.A. Pass has collected Rs 30 lakh in its fifth week thus taking its five week total to Rs 7.7 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.
