Hindi
Not so bossy after all
MUMBAI: Boss reminds you of a brand of hand mixer of the same name. It is a blend of similar films from 1970s and 80s with two brothers, a principled father and a misunderstanding where brothers are parted. Traditionally, one takes the illegal route while the other is the father’s blue-eyed boy. The brothers come together to prove blood is thicker than water a decade and a half later. How is the film contemporary? In those days, a mother slapped her elder one and threw him out, here it is done by the father; the hero does not have a childhood sweetheart pining and waiting for him to return; the music is louder and lyrics make no sense most of the time and mainly, the fight is over the villain’s sister.
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Producer: Ashwin Warde
Director: Anthony D’Souza. Cast: Akshay Kumar, Mithun Chakraborty, Danny Denzongpa, Ronit Roy, Shiv Pandit, Aditi Rao Hydari, Johny Lever, Parikshit Sahni, Govind Namdeo, Sanjay Mishra |
The film starts in an old-fashioned way, trying to set the pace of the film with action by various artistes for the first 40 minutes before it introduces Akshay Kumar with yet another action sequence, a greedy one because it refuses to end! The only action hero of yore who does not have a fight scene is Mithun Chakraborty.
Akshay Kumar, who has been banished from his home in Banaras by his father, Mithun, ends up in Haryana in nick of time to save the local don and Big Boss, Danny. Seeing honesty mixed with anger in the young lad, Danny takes him under his wing to make him his heir, and names him Boss. Big Boss’s front is as the owner of a transport fleet but otherwise he is a supari contractor. On the other side is a policeman, Ronit Roy, who wants to be the commissioner of police and to achieve this, he handles the dirty deals department for the wannabe CM, Govind Namdeo.
It is time to work on a family story and to absolve Akshay of his childhood act which led to his ouster from home. Akshay’s kid brother, Shiv Pandit, is romancing Aditi Rao Hydari, the sister of Ronit. Ronit wants her to marry Namdeo’s son in exchange for the Commissioner’s post. Namdeo wants an outsider to kill Shiv so fingers don’t point at him. The contract to kill him is given to Akshay. At the same time, Mithun gives a contract to save Shiv to Akshay. The brothers combine to foil all the evil plans of the villains through expected twists and turns with no pretence of logic or justification. It is supposed to be old-fashioned entertainment after all!
A remake of the 2010 Malayalam movie, Pokkiri Raja, the film maintains its south flavour in treatment and even the choice of fighters and junior artistes. It also sticks to south style of action and stunts which is too much in vogue with Hindi films lately. Action and light banter of Akshay is what the film counts on to entertain the viewers. Direction is fair. The photography is good. Some one-liners are funny, some flat. Music is a lot of noisy stuff which makes following the lyrics tough. Akshay is his usual self in the roles he plays on regular basis now; a carefree character with unbeatable energy and fighting power. Shiv gets scope to showcase his action prowess and also his romantic side. Aditi Rao Hydari is okay. Mithun seems miscast in an Alokenath kind of role. Parikshit Sahani’s presence in the film is unexplained since he just has to hang around Mithun. It is nice to see Danny on screen after a long time. Ronit makes a perfect villain against Akshay. Johny Lever and Sanjay Mishra are okay with their comic input. Govind Namdeo is the usual villain like his many such roles before.
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.
