Hindi
Singham Returns scores big at BO
MUMBAI: Singham Returns made the most of its release on the Independence Day holiday on 15 August. The film touched Rs 30 crore mark on day one, a first for an Ajay Devgn film. However, the reports were not complimentary in keeping with the content and the film dropped by over 30 per cent on Saturday, while Sunday saw a small rise.
The film has collected about Rs 72 crore for its first weekend. The film was expected to touch a 100 crore mark at the end of day four, also a holiday due to GokulAshtami. But, it may fall short of that target.
Entertainment succumbs to its mediocre and juvenile jokes at the box office. The film, despite a solo release, collected almost Rs 31 crore for the opening weekend, just managed to add another Rs 19 crore for the next four days to take its one week tally to Rs 49.8 crore.
Kick collects Rs 10.4 crore in its third week to take its three week total to Rs 223.9 crore.
Hate Story 2 collects Rs 11 lakh in its fourth week to take its four week total to Rs 35.91 crore.
Humpty Sharma Ki Dulhania has added Rs 15 lakh in its fifth week to take its five weeks tally to Rs 76.55 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.
