LYCOS RETRIEVER 
Suraiya
built 640 days ago
Suraiya is working on involving the Bangladesh Garments Manufacture and Export Association (BGMEA) in the establishment of factory day care centers. She is currently developing an agreement whereby, BGMEA will promote the program among its members and each year assign a certain number of factories to be brought under it. She contacted the Advocacy Institute (USA) for the addresses of major American garment buyers such as Nike, GAP, Reebok, LL Bean, to inquire as to why childcare has not been included in their list of compliance for the factories they purchase from. Reebok has contacted her and said that they would list factories with day care facilities as good factories. Mondial, one of the major European clothing buyers has written to their three suppliers about the day care program. Phulki will soon be starting work with these factories.
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Like many leading ladies of the past, Suraiya's entry into the world of movies was more accidental, than otherwise. In 1941, she had accompanied her uncle Zahur (then a popular actor) to Mohan Studios to see the shooting of Taj Mahal. A child was needed for a particular shot and Suraiya stepped in. The shot was a success but it did not launch her career. She went back to her studies and occasionally took part in children's programmes for All India Radio. Here she met actress Shammi and Raj Kapoor -- a relative unknown in the filmworld. The young Raj used to teasingly call her `Kallu'.
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Suraiya had an edge over her contemporaries Kamini Kaushal and Nargis because she could sing her own songs. The years 1948-49 were the best of her career. After three hits Pyar Ki Jeet (1948), Badi Bahen and Dillagi (1949), she became the highest paid female star. Her reign at the top was brief and her films started flopping in the 1950s. She made a comeback with Waaris and Mirza Ghalib (1954). Her last film was Rustom Sohrab (1963) following which she kept away from films.
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Suraiya, from the very beginning of the test model, focused on sustaining the day care centers without donor dependency. Thus, the next one was implemented with the owner providing the space along with start-up costs and caretaker salaries. The mothers, with some contribution from Radda Barnen, brought food for the children. The subsequent day care centers... were implemented without any donor support. The space, start-up costs, and caretaker salaries are the responsibility of the factory, and the mothers are responsible for providing food. In addition, mothers have to pay Taka 50 (US $1) to Phulki for managing the center.
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Post 9/11 Suraiya created a daily cartoon in the Times of India called Dubyaman with Neelabh Banerjee staff artist of The Times of India. It is loosely based on US President George W Bush. According to Suraiya, he first thought of Dubyaman as a kind of a superman type hero who would signify the military might and muscle of America, but unfortunately has the brain of a George W. Bush, thereby making him more dangerous. The idea was to show that far from being some sort of a superpatriot, this man could be a potential danger, not just to his supposed enemies, but ... to his friends and to his own country's people. Slowly but steadily Dubyaman has got a local flavour where Jug frequently makes fun of Indian politicians.
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Sachinda's first film with Suraiya, Vidya, is redolent with the fragrance of the 40s. The most famous song out of this film is the rare Suraiya-Mukesh team-up for the duet Laayi khushi ki duniya. Kise maloom tha might win favours for being the song most representative of the decade in which it happened.
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Suraiya