Hindi
‘Yeh Jawaani hai Deewani’ cannot be released on TV or home video
NEW DELHI: The Ranbir Kapoor starrer Yeh Jawaani hai deewani cannot be telecast on television until further orders of the Delhi High Court.
This follows a petition by the manufacturer of ‘Roohafza’, which says the film contains the "objectionable" dialogues against the squash.
However, the film has already been released in theatres and so the order will not affect the theatrical screenings.
Issuing notices to the director, producer and dialogue writers of the Ranbir Kapoor- Deepika Padukone starrer, Justice Manmohan Singh fixed the matter for hearing on 16 July.
"The defendants (film makers), their agents, representatives, assignees or any other persons acting on their behalf are restrained from releasing the home video version of the movie", or "of any other version of the movie on cable television or television which contains the objectionable dialogues as complained in the suit."
"However, it is made clear that this order is not applicable to the theatre version of the movie which has already released and the defendants are at liberty to omit the objectionable content from the film and proceed to release the home video version or any television version of the movie."
The court order came on an injunction suit filed by Hamdard National Foundation, the manufacturer of Roohafza, claimed the product is a household name in and outside India and the film Yeh Jawaani Hai Deewani contained some "objectionable" dialogues about the Unani recipe.
The petitioner said: "the defendants (filmmakers) have recently released the movie…which has hit the cinema halls and the said movie contains some dialogues which somehow shows the well-known product Roohafza in the manner which is detrimental to the interests of the plaintiffs (manufacturer) as a proprietor.
"The dialogues in the movie would definitely damage the goodwill and reputation of the plaintiffs and is an actionable wrong in common law as well as statute…," the plea said.
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.
