Hindi
‘The Badlapur Boys’ manage Rs 50 lakh at the BO
MUMBAI: The first sports film on the traditional Indian sport Kabaddi, The Badlapur Boys shows some figures worth its while collecting about Rs 50 lakh for the opening weekend.
Main Aur Mr Right found no favour with the audience. Bhopal: A Prayer For Rain, a docudrama on the 1984 Bhopal gas leak tragedy, does too little too late. The film is just a past memory for most and it puts together just about Rs 1.25 crore in its first week. Sulemani Keeda has failed badly.
Ungli has added Rs 60 lakh to its collections in second week taking its two week tally to Rs 15.4 crore. Zid has collected Rs 35 lakh in its second week to take its two week total to Rs 6.25 crore.
Action Jackson, though counted among major productions, has failed miserably. The film with worse than mediocre content, opened badly not surprisingly ending its first week Rs 46.15 crore.
Happy Ending ended its third week run with not such a happy ending. Kill/Dil managed to add Rs 10 lakh in its fourth week to take its four week tally to Rs 33.97 crore.
Chaar Sahibzaade (Punjabi) is set to emerge as the biggest regional grosser of the recent times.
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.
