Hindi
UTV to come out with a coffee book on the making of Paan Singh Tomar
MUMBAI: When Paan Singh Tomar released early last year, little did one realise that the film would go on to make such a significant mark globally.
A story of an Indian athlete (represented India at the 1958 Asian Games in Tokyo, Japan) turned army man turned dacoit was an exciting concept for writer Tigmanshu Dhulia and Sanjay Chouhan to develop into a film. Great content, superb reviews, incredible word of mouth and a correctly targeted distribution strategy contributed to the success of the film.
In its zest to immortalise the story, UTV Motion Pictures, the producer of the film, has decided to come out with a coffee table book on the making of Paan Singh Tomar. Journalist turned author Priyanka Jain was roped in to write about it. (She has earlier co-written a book on Vinod Chopra along with scriptwriter of 3 Idiots Abhijat Joshi).
The book will give readers a good glimpse of the real and reel life of PST with some never seen before pictures depicting his life. Both director Tigmanshu Dhulia and leading actor Irrfan are backing this project.
Says Disney UTV Managing Director – Studios, Siddharth Roy Kapur, “It is very important for filmmakers and studios to archive stories around iconic movies which have the ability to inspire future generations. As an industry we have not done enough so far to document our incredibly rich cinematic heritage, and this is a small step in that direction. To see the film alive in the form of a book is a way to share the experience of Paan Singh Tomar with all those who were touched by the movie.”
Observes Tigmanshu Dhulia, “The story of Paan Singh Tomar was so captivating that both UTV and I believed that it needed to be told so much so that as a rare case UTV even funded the research for this film. The story of the making of the film Paan Singh Tomar, I believe, is equally compelling. Paan Singh Tomar‘s struggle is not very different from what our real heroes face even today. Hence the book and the film will be contemporary even today.
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.
