Hindi
UTV action packs in more power for fans
MUMBAI: Home to a wide-range of high-octane movies across Hollywood, Bollywood, Asian and Regional cinema, UTV ACTION is the go-to linear channel offering uninterrupted dhamakedar entertainment to film aficionados. Now, the channel is all set to offer 100 plus new, adrenaline-rushing titles to its robust library to enhance an action lover’s movie watching experience further this month.
UTV ACTION is already home to Marvel and offers the largest collection of titles from this universe in Hindi, featuring everyone’s favourite Super Heroes including The Avengers, Iron Man, Thor, Captain America, Spider-Man and more. Now, the channel has licensed rights to a diverse range of action flicks across genres.
For fans who enjoy high-voltage drama, there’s a new, stellar line-up of dubbed versions of ‘South Indian hits’ featuring some of the biggest stars like Darshan, Dhanush, Sai Dharam Tej, Naga Chaitanya, Sudeep, Dhruva Sarja and more.
In the ‘Martial Arts’ genre, there’s a slew of super hits by action legends Bruce Lee, Jackie Chan and Jet Li, and latest titles in the ‘Fantasy Action/ Adventure’ series is Stephen Chow’s Journey To The West 2, whose previous films, The Mermaid and Journey To The West 1, are among the most popular movies on UTV ACTION.
That’s not all. Be prepared for more action as thrilling titles from popular franchises like Transformers, Pirates of the Caribbean, Men in Black and Star Trek will be added to the extensive collection of UTV ACTION to keep action lovers glued to their cushy couches.
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.
