Hindi
Titanic sails back to India after 15 years, to show in 3D avatar
MUMBAI: James Cameron’s Titanic is going to be re-released in India on 5 April, albeit in its new 3D makeover in English, Hindi, Tamil and Telugu.
The release marks the commemoration of the 100th anniversary of the sailing of the Titanic while paying a special tribute to the tragedy that took place in 1912.
As a promotional initiative, Fox Star Studios India has flown down producer Jon Landau, the man behind the two biggest grossers Titanic and Avatar , for a tour of Mumbai and Delhi. The producer will present 45 minutes of the film in 3D to media and prominent Bollywood personalities at PVR Juhu on 22 March. What‘s more, he is carrying with him the prestigious Oscar statuette he won for Titanic in 1997.
Confirming Landau‘s visit, Fox Star Studios India CEO Vijay Singh said, “We are extremely happy to host Landau, who is in the city. There is huge excitement for Titanic 3D in India with an unprecedented 2.5 million fans on its social networking page.”
Starring Leonardo DiCaprio and Kate Winslet, Titanic first released in 1997 and is one of the greatest love stories of all time, having won 11 Oscars.
Speaking about his film, Cameron has said in a statement, “We get to bring Titanic back to the big screen after having been gone for 15 years. I‘ve always thought of watching this film in theatres as a social phenomenon where parents will take their children or teenagers would go with their mom. I‘m a strong believer in the theatrical experience in general and specifically for this film.”
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.
