Johny Lal

Man, Johny Lal had a knack for capturing stuff on camera that just sticks with you, you know? If you’ve ever watched Pardes (yeah, that SRK-starrer from the late ‘90s), you’ve definitely seen his work—lush, sweeping shots of India and America, all those emotional close-ups that hit you right in the feels. The guy knew how to frame a moment so it told a story on its own. Fast forward a decade or so, and you’ve got Kal Kissne Dekha, where he switched gears into this flashy, almost futuristic vibe. That movie’s all about wild college antics, love, and some sci-fi psychic business, and Johny’s cinematography just keeps pace. He does this thing where the camera zips around, keeping things energetic, young, a little dizzy, just like the plot. Then there’s Sayonee, which is more recent. That one’s got a darker, grittier look—a lot of washed-out tones and shadowy corners, perfect for all the crime and mystery going on. You can tell Johny wasn’t afraid to play with light and color to set the mood. Across all these films, there’s this obvious versatility: romance, action, drama, he jumps genres without breaking a sweat. Dude’s work isn’t about just making things look pretty; it’s about making you feel like you’re part of the scene, right in the thick of it. That’s pretty rare.