Hindi
Sony files copyright infringement case against ‘Badmashiyaan’; Delhi HC restraints release
MUMBAI: The Delhi High Court today has put on hold the release of the Bollywood film Badmashiyaan on a plea filed by Multi Screen Media (MSM), which is the Indian subsidiary of Sony Entertainment Television, alleging copyright infringement by the movie’s producers.
Justice Indermeet Kaur has restrained the producers of the film from airing trailers of the movie, which according to MSM, is a copy of a Korean film titled Couples as well as its own production Mango, which is yet to be released.
The court, in its interim ex-parte order, also issued notice to VRG Motion Pictures, which has produced the film as well as Sidus FNH Corporation, the producer and copyright owner of the Korean film, and has sought their replies by 22 May, 2015.
MSM, in its petition has also sought damages of Rs 25 lakh from VRG for infringing its copyright. It has contended that rights to make a Hindi remake of Couples was obtained by co-producer Kaleidoscope Entertainment (KEPL) from Sidus FNH in March 2013. Thereafter, MSM and KEPL entered into a film production agreement, before commencement of production of the film, and “hence MSM is the first owner of copyright in and to the said film,” the petition claimed.
Mango, was produced in 2013-2014 while its trailers were exhibited in February-March 2014. In January this year MSM and KEPL had come across trailers of Badmashiyaan on YouTube and found that the movie was an adaptation of the Korean movie as well as that of Mango.
It was also alleged that the producer of Badmashiyaan copied the plot, treatment and screenplay of Couples as well as Mango. Badmashiyaan, starring Suzanna Mukherjee, Sharib Hashmi, Siddhant Gupta, Gunjan Malhotra and Karan Mehra, was slated for release on 27 February.
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.
