Hindi
Stargaze Entertainment launches multiplex in Jodhpur
MUMBAI: Stargaze Entertainment, the film exhibition company operating a chain of multiplexes in emerging cities, has launched a new three-screen property at Jodhpur.
This is the eighth multiplex under the company‘s brand – Glitz Cinemas. It has 651 seats and is situated at Blue City Mall, Circuit House Road, Jodhpur.
The property houses Glitz Lounge, which offers the Gold Class experience with flat-bed recliners and personalised service; and Glitz 3D for 3D movie-viewing.
The tickets are priced between Rs 110 and Rs 130 and Rs 400 for Glitz Lounge.
Stargaze Entertainment MD Sumant Bhargava said, "This is our second cinema in Rajasthan, the first cinema being at Ajmer. We have received tremendous response from the state so far and hope to build-up the same momentum with Jodhpur cinema launch. At Stargaze, it is our commitment to provide international quality cinema services beyond metros. This is a leap forward towards our vision and we will continue to expand our footprint across the country to reach out to wider audience."
With the launch of Jodhpur operations, Stargaze Entertainment now operates 22 screens across eight locations in India.
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.
