Hindi
YRF replies to makers of Son of Sardar
MUMBAI: Yash Raj Films (YRF) has replied sternly to Eros International, Viacom18 and Ajay Devgn Films‘ legal notice over the release of Jab Tak Hai Jaan opposite Devgn starrer Son of Sardar.
Below is the official statement from YRF:
“We were indeed quite surprised to receive an intimation from Ajay Devgn Films‘ lawyers today saying that they had filed a complaint with the Competition Commission of India against YRF, alleging malpractice committed by us in connection with the release of Jab Tak Hai Jaan and thereby affecting the release of Son of Sardar. For a company like ours, which has maintained the highest standards of work ethics and fair play, this has really come as a shock.
We would like to clarify, at the outset, that we still haven‘t received any notice from the Commission and will suitably represent our stance if and when called upon to do so. Worldwide, as well as in India, distributers often sign deals for their complete annual slate of films to simplify the process. We trust the Competition Commission will also see it as universally acceptable fair business practice.
As we have mentioned in the past, all the exhibitors, when approached by us earlier this year for booking their theatres, were happy to play out Yashji‘s movie considering their long standing and emotional relationship and goodwill with YRF of over 40 years. A Yash Chopra/Shah Rukh Khan movie, coming after a gap of 8 long years, did not need any coercion for contractual screening. Additionally, some exhibitors, who played Ek Tha Tiger, have chosen not to screen Jab Tak Hai Jaan.
Interestingly, of the 10500 plus single screens available on an all-India basis, we have booked less than 1500 single screens (an industry norm for an A-lister movie), a fact that has been common knowledge for some time now. If this was an issue, why wasn‘t it raised earlier? Why wait till now when both films are nearing release?
We had announced Jab Tak Hai Jaan would be a Diwali 2012 release as far back as 27th June 2011 and thereafter every press release of ours reiterated this. Given that most big ticket films avoid simultaneous releases, it was odd that Son of Sardar announced their release for the same day almost a year later on 29th May 2012. They were also able to lock their final distribution partner as late as 4th Oct 2012. It would seem odd that they would expect us to wait for our release plans to be put in place till they had finalised theirs!
It is also unfair to say that we are in any way in a dominant position. While we are releasing just three films this year, the two production houses in question, VIACOM 18 & EROS, who are distributing Son of Sardar, have a total release strength of almost 27 films in a year.
Everyone agrees that the festive time of Diwali has space for two simultaneous releases. Give the audience a choice to choose the one they want to watch. Few of the exhibitors have already chosen, on the basis of a business decision, the one they want to exhibit.”
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.
