Hindi
U/A certificate for London Paris New York
MUMBAI: The Censor Board (CBFC) has issued a U/A (Under Adult Supervision) certificate to Fox Star Studios India and Rose movies’ joint venture London Paris New York keeping in mind the adult content in the film.
Going by the number of intimate scenes of Ali Zafar and Aditi Rao Hydari in the film, it was feared that the Censors would grant an ‘A‘ certificate to the film. But the Board‘s decision to grant the film a U/A certification has indeed gladdened the film‘s makers.
“The U/A certificate shows that the Censor Board has been progressive in its attitude. London Paris New York was never targeted at an adult audience but a younger age group. The film has been given a contemporary treatment keeping them in mind. It‘s a sincere attempt to bring something different to the romantic comedy palette,” Fox Star Studios India CEO Vijay Singh has reportedly said.
London Paris New York releases today.
London Paris New York is a coming of age love story mirroring three states of love and brings back with it Bollywood‘s romantic comedies. It is the story of Nikhil (Ali Zafar) and Lalitha (Aditi Rao Hydari), two completely different individuals who are drawn to each other in spite of their differences or perhaps because of it. The film follows their journey of love as they meet in London, Paris and New York for a night in each city.
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.
