Executive summary Countries and cities worldwide now employ public security and surveillance technology platforms from the People’s Republic of China (PRC). The drivers of this trend are complex, stemming from expansion of China’s geopolitical interests, increasing market power of its technology companies, and conditions in recipient states that make Chinese technology an attractive choice despite…

Executive summary Countries and cities worldwide now employ public security and surveillance technology platforms from the People’s Republic of China (PRC). The drivers of this trend are complex, stemming from expansion of China’s geopolitical interests, increasing market power of its technology companies, and conditions in recipient states that make Chinese technology an attractive choice despite…

Napping in the daytime is good for your health and probably for your productivity.

Data showed China's exports rose 3.5% from a year ago, versus a 15.7% decline in a Reuters poll.

Oil prices jumped on Thursday on news that China's exports unexpectedly rose last month, and on the back of U.S. output cuts and the slow return of some activity in Europe.

Myron Brilliant, Executive VP & Head of International Affairs at the U.S. Chamber of Commerce, explains how increased U.S. LNG exports could impact Russia's standoff with Ukraine.

Jian Chang of Barclays Asia Pacific says medical supplies are a key factor driving the increase in China's export numbers. Jian Chang also explores the worsening U.S.-China relationship in recent weeks amid the coronavirus crisis, with the trade agreement being a key focal point.

China's exports could weaken in May, possibly also in June, as some of its largest export markets in the West have been under lockdown due to the pandemic, says Ray Farris, Credit Suisse's chief investment officer for South Asia.

While Mira Nair's The Namesake (2006) introduced Irrfan to the art-house West as Ashoke Ganguli, there was a 2012 profile of his in The New York Times (by Kathryn Shattuck) that, he reckoned, alerted many in the Hollywood establishment to the person behind the roles he'd done thus far.

This is a couple of years after the last season of HBO series In Treatment that I recall Irrfan calling up from the US to say he was particularly proud of. And a few months before the release of Andrew Webb's franchise reboot, The Amazing Spider-Man, where he played the antagonist, Rajit Ratha.

Titled 'Bollywood Hero, American Everyman', the NYT piece went on to ask, "Could Mr Khan become the first Indian to capture the lead in a mainstream American movie?" It began with Irrfan himself declaiming, "Hollywood isn't ready for an Indian leading man." And Ang Lee later agreeing, while arguing, "But maybe he can do it for us [Asians]. He's definitely rare and very special." Irrfan was dubbing for Lee's Life Of Pi at the time.

The fact is, up until Irrfan had spent over a decade and half in Bombay, after graduating from National School of Drama (NSD), doing grunt-work on television, with shows after shows—some of them hugely popular, like Chandrakanta, Star Bestsellers, Banegi Apni Baat (that he also directed episodes of)—starting from late '80s, all through the '90s, let alone Hollywood, even Indian cinema wasn't ready for him as an Indian leading man!

That real deal happened only with the British filmmaker Asif Kapadia casting Irrfan in and as The Warrior (2001), in a slow, quiet, Himalayan Western, if you may, with his haunting eyes adding to the striking visuals. Thereon, young Kapadia scripted an Oscar-winning career as one of the world's top documentary whizzes (Senna, Amy, Diego Maradona).

Irrfan finally captured desi imagination with his inimitably insouciant, proper desi-cool turn as the rustic college goon in Tigmanshu Dhulia's Haasil (2003). A lot of local filmmakers, he said, could place him as the new villain in town. He refused a few such roles, only to mesmerise audiences even more as the obsessed lover in Vishal Bhardwaj's magical Maqbool (2004)—unreservedly a masterpiece that Bhardwaj found hard to match, leave aside with Irrfan (though Haider and 7 Khoon Maaf with the actor were decent attempts).

Thus, a star was proverbially born. Although he'd been around in Bombay all along. This is no time for rona-dhona on ways the film industry functions, while it was always a pleasure to chat about all of this, on occasion, with Irrfan. He never held back on what he felt or thought, about people and pictures.

Will never forget this one time he told me on a TV interview how embarrassed he felt watching the "aaj mere yaar ki shaadi hai" (desi-wedding type) shindig around Slumdog Millionaire (2009) at the Academy Awards stage, with Anil Kapoor over-excitedly jumping about, while he hadn't even heard of Danny Boyle before signing up for the film! Or in another interview where he complained about why Shah Rukh Khan had to play out two schizophrenically different films (one with himself all over it) in Billu (2009), with no one ending up liking either, as a result.

That's how Irrfan was, even in public — charmingly candid, but meaning no malice whatsoever, of course. Despite much that he'd been through. To be fair, just casually scan the timeline for when he moved to Bombay. This was the fallow phase when 'parallel cinema' that had inspired him to become a film actor in the first place, had altogether been phased out. Many of the filmmakers had moved to television.

Irrfan got to do the historical docu-drama Bharat Ek Khoj (1988) with Shyam Benegal. He found a chance to work with Govind Nihalani in Drishti (1990) or Basu Chatterjee in Kamla Ki Maut (1989), in the evening of their careers.

The mainstream space almost wholly consisted of action stars, and thereafter, what he called "chocolate boys". Irrfan was neither. The key issue with him as a young aspirant, he said, was to imagine who he could be like. Until Naseeruddin Shah, from the generation before him, he confessed, metaphorically showed him the way — first from Jaipur where he grew up, to NSD, in Delhi.

An abiding memory of Naseer on screen, Irrfan recalled in a TV interview, was from Umrao Jaan (1981), where he flirts with Rekha's character, who is visibly annoyed and asks what he's up to. He casually mentions, "Waqt hai toh kuch toh karein, saath (Since there's time let's do something together)."

The first time I saw Irrfan on the big screen was in an NFDC production, Fareeda Mehta's Kali Salwaar (2002), where he plays writer Saadat Hasan Manto, staring at the heroine in the balcony, from across the street. What are you up to, he asks her. "Jhak maar rahi hoon (Doing nothing)," she says. "Chalo saath mein jhak maarte hain (Let's do nothing together)," he retorts indifferently. Few have seen that film. Don't remember much of it either — impossible to erase that casually killer moment from memory.

For all the years he was altogether bored of bulk-acting on TV in Bombay, whatIrrfan found the hardest to do was keep the inspiration alive — even while he found none of it in his work. He found most of it in watching films, right from the time he bought a video-player with his first salary in the city.

No actor I know from his generation was as well-versed with world cinema as Irrfan. One of his dreams was to be in the same frame as the French hero Gerard Depardieu. Can't thank him enough for introducing me to the Turkish-German star-director Fatih Akin, much before Akin became a thing. Or filmmaker Michael Winterbottom, who Irrfan, of course, worked with in A Mighty Heart (2007). It is said Wes Anderson specifically pencilled in a part for him in The Darjeeling Limited (2007). In conversations, he was always ready with a recco.

Perhaps exposure of this sort could also frustrate an actor, in contrast to the eco-system that surrounds him. Irrfan spoke quite often about having decided to quit acting altogether in his early years, since television was all he was doing, and the sort of movies he wished for weren't going to materialise anyway. This is the phase, he said, he actively worked on his craft, since he had nothing to lose. And much less to hope for. To keep himself busy, he said, he toyed with ways to gently seduce the camera, besides attempting to "live in the moment".

Irrfan in a still from Inferno 

This became perhaps what critics/reviewers might over-use the word "nuance" to explain many of his performances that highlighted most of all, minimal face-acting — least amount of gestures that also kept space for dramatic revelations, when you least expected them. He was the finest film practitioner of 'less is more' — hitting its highest note perhaps with Dhulia's Paan Singh Tomar (2011) that, despite a fair festival run, remained in the can for the longest, before finding theatrical release to top Bollywood awards that year.

More specifically, he could hold a moment. Also there was something infectious about his performances, if you notice, say Deepika Padukone match her smiles and telling eye-contacts with his, in Shoojit Sircar's Piku (2015). Same between Konkona Sensharma and him in Anurag Basu's Life In A Metro (2007). Or, most recently, actor Deepak Dobriyal playing off Irrfan's thoroughly restrained yet feisty/OTT comic timing in Angrezi Medium (2020), his last release.
That's what earned him most respect from peers and public alike.

I was at a breakfast interview with Naseer in Lucknow (he was shooting for Dedh Ishqiya) when Irrfan joined in (he was there filming Bullet Raja). Throughout, Naseer, who's generally frugal with praise and an idol of sorts to Irrfan, called him "Khan Saab" — referring perhaps also to his aristocratic lineage, although he's had a fairly modest upbringing.

There was still something naturally royal about Irrfan's presence, both off but, more so, on the screen. This was a handicap, at least according to one filmmaker critic of his I know. He was incapable of coming across as "low-status", even in roles that demanded so. This is where Nawazuddin Siddiqui held an advantage, apparently. There was minor tattle going on about a rivalry of sorts between fellow NSD alumnus Nawaz, 45, and Irrfan, 53. Much of it had to do with the phenomenal success of Ritesh Batra's The Lunchbox (2013), arguably the greatest Indian success abroad, that both starred in.

The fact is, Nawaz could never do what Irrfan could, and vice versa. As is true for all unique talents. That royal demeanour no doubt would've helped Irrfan bag the role of Mesrani (probably named after Ambani), the Indian-origin richest man, who's the main villain in the gigantic Jurassic Park franchise film, Jurassic World (2015).

His last major outing in Hollywood was with Tom Hanks in Inferno (2016). This is before he headlined the ambitious Japanese mini-series Tokyo Trial (2017; currently available on Netflix). Just look at that line-up abroad, even while he'd confound producers back home picking up a hardcore art-house film like Qissa (2013), although scoring huge in the box-office with the comedy, Hindi Medium (2017).

Irrfan had been ailing since 2018, diagnosed with a rare, neuro-endocrine cancer. He was never seen in public thereafter. He made sure of that—nothing to mess with our memories of him. The common adage '50 is the new 40' (in line with people in other decades) couldn't have been more aptly applied than with Irrfan. He was at the cusp of something bigger, having kick-started his career with definitive, defining roles, only in his mid 30s!

At 20, he told me, he had trained all the actors of Mira Nair's Oscar-nominated Salaam Bombay (1988), but failed to star as one of the boys in it, because he was too tall to fit into the frame with them. He lived and learnt a lot about life from those street kids.

The Irrfan I knew came across as a deeply sensitive man. The ongoing wave of Islamophobia bothered him no end. He had dropped Khan from his name. Unsure if being racially profiled twice at American airports had anything to do with it. He also had a strong dislike for traditional stardom-led ways of Bollywood— mildly upset by stuff like, how much he was paid by a friend for a role, and how much was offered to his co-star, for the same picture.

But he also had a playful, roving-eye, happy-high side, behind that gambheer/serious exterior. He was surrounded by friends and well-wishers, I noticed, when graciously invited by his wife Sutapa (they met at NSD), to participate in his episode of the biographical show, Jeena Isi Ka Naam Hai (2012). After all these years, the show's anchor, Bollywood star Raveena Tandon asked where I saw Irrfan in the pantheon of the (more popular) superstar Khans. In a league of his own, obviously.

Some of the fun part of Irrfan's personality you find organically channelled into madcap entertainers like Dil Kabaddi (2008) or Karwaan (2018). Or you could just watch him happily descend into YouTube level sketch-comedy with an AIB video gone viral! Better still, you could catch the totally terrible Thank You (2011), that he certainly did for the bread, butter, or more likely, cheese. Outside the preview screening of one of these flicks, he came up to say I must've got "jaded" watching so many movies. Yeah, right!

If it wasn't for Rajesh Khanna, could Irrfan have carried on as an AC repair mechanic? That's what he had visited the superstar's Carter Road bungalow as, much before he had thought of becoming an actor, or formally moved to Bombay. Irrfan had trained to fix appliances. His father was in the business of selling tyres. That visit as an AC-repair guy to Khanna's residence, he recalled in an interview, somehow ignited in Irrfan the belief that he simply couldn't work for the money. He needed something more to keep him engaged.

Before he left for NSD, Irrfan's father had passed away. His mother Saeeda Begum was worried that he was going to become a "naach-ganewallah". Whatever that means, he promised her, "Aapko sharminda nahin hone doonga (I won't let you down)." He didn't. Saeeda Begum, 95, passed away three days before him.

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The new BJP-led government in Tripura is keen to boost employment in the state by encouraging tourism around sick tea gardens and boost income of farmers by exporting an exquisite variety of pineapple to Dubai and Hong Kong.

Officials said that hotels, motels, restaurant and lodges will be created near sick tea gardens to encourage tourists to visit and stay there.

"These tea gardens, which are not doing too well in terms of business, are located in serene environment and are surrounded by natural beauty. Once infrastructure is created, tourists are sure to visit these places. It will help create local employment besides helping tea gardens market their produce," an official said.

He said the state government is keen to make Tripura famous within and outside the country for "queen" pineapple.

The Tripura Queen pineapple got the GI tag in 2015.

Officials said that production of queen variety of pineapple, known for its pleasant aroma, sweet taste and golden yellow colour, has faced some constraints as producers do not get a very good price owing to their facing problems in export.

"We have now decided to tap international market for this pineapple variety and have identified Hong Kong and Dubai as prime destinations for export. We are sure that the queen variety will establish itself in the international market due to its sweetness and unique aroma," an official said.

He said that transport arrangements have already been put in place for export of the pineapples and the state government has set an ambitious target.

"The purpose is to ensure that the farmers get double the price of their product. Today they are getting about 15 per pineapple but if their product is sold in foreign countries, they would get double the price of their produce," the official said.

Tripura Chief Minister Biplab Deb told IANS over phone that his government has taken various measures to boost agriculture and tourism sectors.

"Tripura has immense potential in agriculture and the tourism sector but it was not utilised in 25 years of CPI-M rule. We will make Tripura a world class tourism destination and would ensure that the farmers of the state get proper dues for their produce," he said.

"We are taking various measures. We are focusing on branding of some of our special produce. We are talking to every stakeholder and also trying to get into foreign markets," he said.

Deb said the steps are in line with the NDA government's efforts to double the farmers income by 2022.

Officials said that productivity of pineapple in Tripura at 18.73 tonnes per hectare is higher than the national average of 15.80 tonnes.

They said that people know about Assam tea and Darjeeling tea but Tripura, despite having special variety of tea leaves, has not been able to earn a similar reputation.

Tripura has a history of tea plantations going back to 1916 but these suffered during the spells of insurgency in the state. Some tea gardens have also faced problems related to infrastructure, modernisation and management.

The officials said that decisions to boost employment through tourism and agriculture export is in line with the BJP's pre-poll promises.

The party had assured to establish Directorate of Tea Gardens for scientific development of tea and facilitate the socio-economic development of tea plantation workers.

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The Department of Commerce has initiated a wide-ranging antidumping duty and countervailing duty investigation into imports of carbon and alloy steel wire rod from ten countries.

According to figures declared by the Pharmaceutical Export Promotion Council of India (Pharmexcil), pharmaceutical exports registered a growth of 11.21 percent during the first quarter of FY20

Malaysia has decided to keep the crude palm oil export duty at 5.5 percent next month, despite higher Indian taxes on imports, which are expected to dent demand.

The International Chamber of Commerce has warned that micro-, small-, and medium-sized businesses' growth prospects are being stymied by complex indirect tax regimes. It has released an issues brief that is intended to contribute towards international reform talks being led by the World Trade Organization.

Australia's free trade agreements are being widely used by Australian businesses, according to a new report commissioned by the Government.

South Korea's Government has announced that it will provide tax relief to small and medium size businesses that have been affected by Japan's decision to remove 159 South Korea products from its export "white list."

The International Chamber of Commerce has warned that micro-, small-, and medium-sized businesses' growth prospects are being stymied by complex indirect tax regimes. It has released an issues brief that is intended to contribute towards international reform talks being led by the World Trade Organization.

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