Hindi
Zee Action to air The Monkey King 2 on Saturday, 21st July at 8pm
MUMBAI: Five hundred years after the Havoc in Heaven, the Tang Priest is appointed by Buddha to go to the West to fetch the sacred scriptures, only to accidentally free the Monkey King. With Lady White aiming to break up the team assembled to defeat her, the Monkey King must fight in order to save his world! The film has been praised for its production design and amazing picturisation which has broken all previously set benchmarks. Zee Action – India’s one-stop destination for action movies is all set to bring this entertaining powerhouse to your television screen on Saturday, 21st July 2018 at 8pm.
Freed after 500 years beneath Five Element Mountain, Goddess Guanyin (Kelly Chen) entrusts Sun Wukong’s (Aaron Kwok) with a task of shepherding young monk Xuanzang (William Feng) on his journey west to retrieve ancient spiritual sutras that will pacify the Earth. They are joined by a pair of similarly disciplined creatures: the water-dwelling Wujing (Him Law) and the gluttonous half-man, half-pig Baije (Xiaoshenyang). When the party arrives at a wealthy Silk Road kingdom, they hear stories of a malevolent demon, who has been kidnapping and eating children. The pure-spirited Xuanzang is then himself targeted by the seductive yet deadly White Bone Spirit, Baigujing (Gong Li), who feeds on the innocent to retain her own youthful beauty.
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.
