Hindi
Titanic rakes in Rs 61 mn in opening wekend
MUMBAI: The 3D version of James Cameron‘s epic love story Titanic has earned Rs 61 million from 213 screens in the opening weekend.
The film also enjoyed a good opening in the international market by earning $35.5m from 5,579 screens in 84 countries this weekend, Fox Studios, the disttributor of the film, said. The film has done good business not only in the major metros but also in the smaller markets.
The release of the 3D version of the film in English, Hindi, Tamil and Telugu is in commemoration of the 100th anniversary of the sinking of the Titanic.
“Titanic 3D‘s phenomenal success has set a new benchmark not just in 3D technology, but for re-releases in India and international markets. The figures further reaffirm the passion and excitement which Titanic, one of the most celebrated films in cinema history, has enjoyed in India over the years,” said Fox Star Studios India CEO Vijay Singh.
Titanic, a love story with the 1912 sinking of the ship as its backdrop, was released in 1997. Then, it had made around $1.843-billion worldwide.
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.
