Friday, December 30, 2016

50 Days of Demonetization – 'Things Gone Right / Things Gone Wrong' - Analysis

Demonetization
Today (30th December 2016) marks the 50th day after our PM Shri Narendra Modiji announced a historic move of demonetization of high value currency notes of ` 500/- and ` 1000/- on 8th of November 2016.

In his high-octane speech on 8th November, Modiji urged citizens of India to bear the brunt of demonetization till 30th December (for 50 days) by which he expected the things would return to normalcy. As promised by him; indeed situation is improving as I like many others could withdraw 5-6 thousand rupees in 2 days from ATM and our waiting time was not more than 5 -6 minutes each day.

Much has happened in these 50 days right from the doors of government to opposition and from public to media. So this attempt is to list down “Things Gone Right” (TGR) and “Things Gone Wrong” (TWG) from a point of view of lay man like me who is a Modi supporter.

New Notes of Rs. 500/- and Rs. 2000/-

No.
TGW (Things Gone Wrong)
TGR (Things Gone Right)
1.
Unpunished, ever-growing and socially acceptable corruption and black money since past 70 years of Indian Independence
Guts shown by our PM to take steps against such menace of a corrupt system and black money
2.
a) Long queues, cash crunch, inconvenience to general public all across India.
b) Few stray incidences of public unrest.
a) Support given by citizens from all walks of life even at the cost of huge inconvenience to them.
b) Support of citizens arrested by our PM through no. of public speeches with no major incidence of public unrest against overwhelming and inevitable problems of demonetization.
c) Initial support given by almost all of the opposing parties
3.
a) Unpreparedness of GOI seen through stalled micro economic activities due to crash crunch.
b) Frequent policy changes by GOI and RBI and
c) some time complete reversal of its policies.

a) Nothing would have prepared anyone for the herculean task of scrapping 80 – 86% of the currency in circulation in the vast country like India.
b) It reflects agility of the system (big difference from Manmohan era) in spite being a ‘Sarkari’ system and speed of decision making of GOI.
c) Policy reversal reflects willingness of GOI to accept its mistakes and do the course correction.
4.
a) Nothing was done by the GOI (like printing more currency notes of low denominations) in anticipation of the cash crunch in cash driven economy of India.
b) Even in his speech on 8th; Modiji fell short of portraying the severity of the entire overhaul and most of the commoners especially from metros inaccurately considered money exchange and cash withdrawal would return to absolute normalcy within couple of weeks.
a) High level of secrecy and surprise was at most important to arrest black to white conversions of politicos and corrupts.
5.
Life came to a standstill with no cash to spend on daily necessities particularly in villages and more so for the remote villages where there is zero or limited exposure to financial institutes and internet. 
Remarkably reduced naxalism, terrorism, human trafficking etc.
In fact economic activities began to normalise in Kashmir after demonetization as separatists are left with no money to entice Kashmiri youths in to stone pelting and other anti-national activities.
6.
Still lot of them were able to convert black money in to white through illegal means.
These cases coming in to light shows how strong the system has become and how determined the government is to win this battle against black money.
7.
Agitations of opposition parties against government with the aim to get a traction to stop Modi wave
Modi wave is far from dying. BJP is a clear cut winner in local gram panchayat and municipality elections.
8.
Most of the media (presstitutes) being against Mr. Modi and BJP were busy telecasting only the negative impacts of demonetization.
Still there were couple of news channels which were firmly supportive of the decision.
9.
Normalcy is still a distant dream as cash crunch is going to bother us for couple of more months.
a) Cash crunch is easing out for sure and as explained in the introduction, I have experienced it myself.
b) Cash crunch is turning out to be a good push for the digital / cash less or limited cash economy - though this might not have been the initial aim.

Finally, in the short term it might be easy to conclude that demonetization was a 'poorly executed - correct decision' (economic indicators like GDP, IIP might support this statement) or nothing on the balck money / corruption front will actually change in the long run; making this entire exercise of demonetization a futile one but I am more happy that my PM elect believes in action.


Action with an intention of correcting it if gone wrong is better than the inaction of decades! 

Monday, December 5, 2016

Amar Photo Studio - A Magnificent cinema that is played on-stage.



You have always herd and experienced that cinema as a medium is stronger than drama. But this notion of yours will be proved absolutely wrong when you will watch Amar Photo Studio and it indeed is that brilliant!

It actually starts with a scene which gives a feel of an extension of Z Marathi daily soap 'Dil Dosti Duniyadari' (for the obvious reason of the same artists) but as soon as the protagonists with a heavy baggage of their emotions enter the wonder land of 'Amar Photo Studio' you literally don't remain in this world. Literally!



The cast - Suvrat Joshi, Amey Wagh, Pooja Thombare, Siddhesh Purkar and Sakhi Gokhale mesmerize you with their acting prowess and comic timming. Except Sakhi, rest of them play more than one character of different length and all of them skilfully and effortlessly mould in each of their character. Amongst them all, Siddhesh is the master of disguise, and as he is still not a well known face you might not recognize him in all his roles.

Scenes of Chandrika (Pooja) and Appu (Suvrat) are the highlights of 1st half. Amey is damn good as a veteran fillm personality he portrays. Rendition of ‘Char bottle vodka’ with a twist is catchy too. Sakhi’s sheer energy is contagious. But Suvrat’s double role as Appu and his father in a single scene is hands down the best of all.

Kudos to Manaswini Lata Ravindra – the writer of the play – just for thinking of writing a play on the very concept of Amar Photo Studio (I won’t disclose it’s one line theme here as you have to watch it yourself). Lights by Shreyas Talpade – Bang on. Dicto for the music and background score by Gandhar (and Akshay Vaidya). Applause for set design and set changes.



And finally star of the show is the director – Nipun Dharmadhikari (yes he is the one who is listed in the top 30 theater personalities in the world for the year 2016 in Forbes list). He is the to be credited for presenting a 'play' with a 'cinematic brilliance'. He has definitely blurred the line between a drama and a cinema. 

His idea of using black white and retro colours right from set to costumes to lights is praise worthy. Presentation of fight sequence between Suvrat and Siddhesh and Suvrat’s double role are just fantastic.

 Nipun and all the artists have preserved the subtle comedy (no puns (कोटी) or heavy body gestures (अंगविक्षेप)) in the writing of Manaswini ;making this play a delight to watch.

The marketing and social media strategy adopted by them (Gandhar) to promote this play will give you an idea of how ‘hat ke’ this play is. Right from their teaser; challenging well known Marathi artists to upload their age old photographs to their ritual of clicking the photos of audiences after each play and uploading it on their FB page Amar Photo Studio requesting audiences to comment on the photo with their seat no is simply out of the box.

Teaser Challange

 So basically I have all the praises for this play. May be I will have to watch it again to appreciate all its nuances.

So? go and get lost in the fantasy world of ‘Amar Photo Studio’!! and please please please don’t miss this fabulous play produced by Sunil Barve! 

From Left: Pooja Thombre, Nipun Dharmadhikari, Amey Wagh, Sunil Barve, Suvrat Joshi, Sakhi Gokhale, Siddhesh Purkar