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To Catch a Dollar: Muhammad Yunus Banks on America (2010)

To Catch a Dollar: Muhammad Yunus Banks on America Poster
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For 30 years, Muhammad Yunus helped 7.5 million Bangladeshi move out of poverty. Can he help women in Queens NY to achieve their American Dream?

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Professor Muhammad Yunus' never wanted to be a banker and he certainly never imagined winning the Nobel Peace Prize. Yet his quest to help the working poor invest in themselves led to both. Known as the father of microcredit loans in Bangladesh, Yunus spent years developing the Grameen Bank, and in 1983 it became a fully licensed bank with a twist-it was owned by its borrowers-mainly poor women. Yunus is famous for saying that in developing Grameen he deliberately did the opposite of what a conventional bank would do. Today, the success of Grameen Bank has changed the lives of 7.5 million Bangladeshi borrowers and their families (in 38 countries worldwide.- delete- it women in Bangladesh they added other countries and now there are 100million mc loans world-wide. But why stop at Bangladesh and poor nations? As the global financial industry struggles with plummeting markets and job loses, Yunus holds steady with his latest banking initiative in New York. Under intense scrutiny from ... Written by Gayle Ferraro

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January 2010 (USA)  »

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Impressive humanitarian movement, mediocre documentary.
30 September 2011 | by See all my reviews

While I have to applaud the efforts of Muhammed Yunus and others in the Microfinance world, much as the Nobel Committee has done, this is simply a poorly made film.

Subject matter that would be dry to most is given an unexciting treatment and the production values would seem low on a half hour news magazine, let alone a feature film. Not much in the way of interest is brought out by the subjects and the attempts to bring microcredit to Queens and there isn't a story here that would appeal to those that are not already in the loop.

In articles and books I have seen the microcredit movement given an interesting bent and made interesting and accessible to outsiders, as in the New Yorker and on 60 minutes. This is completely disposable and made with what must either be ambivalence or ineptitude on the part of the filmmakers.


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