Hindi
T-Series to co-produce super hero film with Saif Ali Khan in lead role
MUMBAI: T-Series and Milan Luthria’s Vertex Motion Pictures have signed Saif Ali Khan for a yet untitled super hero film.
The co-production is slated to be a wholesome entertainer with a strong romantic angle that would appeal to all types of audiences.
The film will be a character-driven story and a mix of comedy, action, drama and romance creating larger-than-life cinema for movie lovers.
Though the leading lady of the film is still under wraps, the makers have said that she will be one of the top five heroines of the industry.
“After Ready, my next film will be directed by Milan Luthria. As Ready did Rs 1 billion-plus business, we will continue to dabble in film production in a big way. We do not wish to make multiple films but would rather do a few good projects. No run-of-the-mill stuff for us,” T-Series head honcho Bhushan Kumar said.
The filming will start in 2013. “Milan‘s film, for us, is a family entertainer. I am excited. We are very happy to have him on board. We wanted someone who could make people laugh and Saif is perfect. The film will have action, adventure, suspense, comedy and music. in short, it‘s a complete masala film,” Kumar added.
Luthria is riding high after two back-to-back super hits in Once Upon A Time in Mumbai and The Dirty Picture. Talking about the superhero angle in the film, he added, “There are many superhero films out there but this isn’t one of them. Ours is a masala entertainer with a twist, that‘s all that I‘ll say at this point. Saif and I had always been talking about reuniting again for another film after Kachche Dhaage but somehow nothing materialised.”
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.
