Hindi
Sony Music reunites with Viacom 18 Motion Pictures and Rakeysh Ompraksash Mehra for the music of Bhaag Milkha Bhaag
MUMBAI: Sony music has teamed up with Rakeysh Omprakash Mehra and Viacom18 for the music rights of the biopic – Bhaag Milkha Bhaag.
After ‘Rang De Basanti‘s musical success, this is the second project with Rakeysh Omprakash Mehra that adds another feather to Sony music‘s list. Co-produced by Viacom 18 Motion Pictures and Rakeysh Omprakash Mehra, Bhaag Milkha Bhaag is based on the life of athlete, Milkha Singh. The title character is which is played by actor Farhan Akhtar.
The music is composed by the musical trio Shankar – Ehsaan – Loy with lyrics by Prasoon Joshi.
Sony Music Entertainment president India and middle east Shridhar Subramaniam said, "Our journey with Rakeysh began in the year 2005 with Rang De Basanti wherein we worked very closely with his team and created a huge success. Today while we work with him on Bhaag Milkha Bhaag we are all geared up to put in the same passion and energy. We are extremely confident of the subject and the music as it‘s an integral part of the film."
He further adds, "Prasoon Joshi‘s lyrics in Rang De Basanti elevated the musical experience and we are sure it will be the same this time too while Shankar Ehsaan and Loy always bring a fresh new angle to the music. At Sony Music, it‘s always a pleasure to work with Viacom 18 and we together will ensure a great musical journey for the listeners."
Mehra adds, "Bhaag Milkha Bhaag has been the most challenging experience. I have felt growth within myself as a film maker. The songs of the film is what a soul is to a body, we are lucky that Shridhar and his passionate team at Sony Music have joined hands and have become an integral part of the BMB family".
The music will roll out in May and the movie is slated for release in theatres on 12 July.
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.
