Hindi
Bollywood Stars Get On a 50cc Moped
Did you know that scooters and mopeds are the most affordable form of transportation for most families in India? For the majority of Indian families, normal cars are just too expensive, which leads many of them to ride only mopeds when they need to go somewhere.
In an effort to portray some realism and connect with the everyday person, many Bollywood stars have got a 50cc moped and ditched their expensive cars. So, which members of Bollywood’s star-studded cast have taken to riding cheaper vehicles? Keep reading now to find out more.
• Amitabh Bachchan
First up, we have Amitabh Bachchan. Even though he’s very famous Bollywood star, he was spotted riding a moped in normal street clothes, something an everyday man might wear.
It was later learned that he was portraying a man of meager means looking for a job in an upcoming film. However, it seems that Amitabh has taken a liking to riding 50cc mopeds and continues to do so even in his time off from filming.
• Shah Rukh Khan
Another one of Bollywood’s most famous stars, Shah was also recently seen riding his own 50cc moped. In his most recent film, he was shown riding a 50cc moped down the street. He portrayed an average man, with his wife riding along behind him.
Shah also rode a moped in another film he starred in, titled Chak De! India. The film was very popular, allowing its audience to feel more connected with Shah as a main character while watching him do some of the things that many of them do daily.
• Dhanush
Yet another Bollywood star has been shown riding a 50cc moped on the film sets of Raanjhanaa. He was riding a gray Bajaj Chetak, attempting to keep out of a rainstorm that had blown into the set.
For the same film, Dhanush is shown riding a bright yellow moped with costar Sonam Kapoor, smiling wide for the audience. There were a lot of scenes in this particular film of the Bollywood star riding a moped.
• Anushka Sharma
And finally, Anushka is another star that has been seen riding a 50cc moped recently. Anushka initially had a terrible time learning to ride a moped, ending up on the news for how bad she was while filming Ladies Vs Ricky Bahl.
However, since then, Anushka has taken a liking to riding on two wheels. She has her own moped and has starred in other films where she was shown riding 50cc mopeds in various scenes.
It’s clear to see that the 50cc moped isn’t just for the average person but can also be enjoyed by even the wealthiest people across India and the world. Truly, these little scooters are great vehicles for those who are on a tight budget. Their reliability also makes them great for anyone with greater means, too. They are very safe and always remember you need moped insurance always to be legal on the road.
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.
