Bangladesh doctor says he was transferred to rural clinic after criticizing cricketer

Mashrafe Mortaza. (AFP)
Updated 01 July 2019
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Bangladesh doctor says he was transferred to rural clinic after criticizing cricketer

  • Bengali daily Manabjamin said the transfer was a consequence of Karim’s “disrespectful” Facebook remark against Mashrafe, who enjoys enormous popularity in cricket-mad Bangladesh

DHAKA: A top Bangladesh paediatric doctor said Sunday he had been transferred to a remote rural clinic after criticizing the country’s cricket captain on social media.
Rezaul Karim, a child cancer specialist, was posted to the southeastern district of Rangamati weeks after criticizing skipper Mashrafe Mortaza on Facebook.
“I have been transferred to Rangamati Medical College which doesn’t have any cancer treatment facilities. This seems to me an unnatural process,” he told AFP.
Mohsin Uddin, a deputy secretary of the country’s health ministry who signed the transfer order, said it was “only an administrative decision,” and rejected any suggestion it was a punishment.
A social media row started after Mashrafe, the country’s most popular sportsman and a member of parliament for the ruling party, visited a state-run hospital in his rural constituency and became infuriated when he found several doctors absent.
A video of Mashrafe criticizing one senior doctor by telephone went viral on social media.
Karim said he was one of six doctors served notice by the country’s health ministry after writing a Facebook post criticizing Mashrafe for “taking pleasure in bowling Bangladeshi doctors.”
Two months later he was ordered to remote Rangamati, where a low-intensity tribal insurgency has simmered for decades.
Karim’s sudden transfer from a cancer facility in Chittagong — where he was treating over 100 young patients — has also grabbed local media headlines.
Bengali daily Manabjamin said the transfer was a consequence of Karim’s “disrespectful” Facebook remark against Mashrafe, who enjoys enormous popularity in cricket-mad Bangladesh.
Mashrafe is currently in England taking part in the World Cup.
Mashrafe hails from the southwestern Narail district, where his charity Narail Express — also the fast bowler’s nickname — has donated ambulances to hospitals and rice seed to farmers.
Turning to politics after retirement is not unusual for South Asian cricketers, but Mashrafe is still playing, captains Bangladesh in the one-day format of the game, and intends to lead the team even after the World Cup.


Why ‘Gone With the Wind’ eclipses both ‘Avengers’ and ‘Avatar’

Updated 22 July 2019
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Why ‘Gone With the Wind’ eclipses both ‘Avengers’ and ‘Avatar’

  • The $402 million taken in by “Gone with the Wind” after its 1939 release places it in a paltry 285th position in raw dollar terms
  • That compares to $2.7902 billion for “Avengers: Endgame,” which this weekend just squeaked past the “Avatar” total of $2.7897

NEW YORK: Even as Disney confirmed Sunday that “Avengers: Endgame” had become the top-grossing movie ever, film historians noted that “Gone With the Wind” still has a strong case for being the most successful film of all time.
The $402 million taken in by “Gone with the Wind” after its 1939 release places it in a paltry 285th position in raw dollar terms. But that ignores the huge role of price inflation over time.
The epic historic romance, set during and after the US Civil War, sold the enormous 215 million tickets in the United States, far and away the record in that category, according to the Internet Movie Database. It’s box office was boosted by seven national releases between 1939 and 1974.
“Gone with the Wind” would have sold $1.958 billion worth of tickets today in the US market alone, based on what the National Association of Theatre Owners says was an average US ticket price in 2018 of $9.11.
Worldwide, and with inflation taken into account, the film would have taken in a stunning $3.44 billion, the Guinness Book of World Records has estimated.
That compares to $2.7902 billion for “Avengers: Endgame,” which this weekend just squeaked past the “Avatar” total of $2.7897.
Consider also that the US population in 1939 was a mere 130 million, roughly 200 million less than today.
For some, however, the success of the epic film — it runs three hours and 58 minutes — is troubling.
With a story line based on the novel by Margaret Mitchell, some historians see it as one of the most ambitious and successful examples of Southern revisionism.
Immediately after the Civil War (1861-1865), there was a broad push in the US South to cast the formerly slave-holding region in a softer light.
Those purveying the so-called “Lost Cause” ideology insisted that the Southern states had fought not to preserve slavery, but because the North was infringing on their political independence.
Yet in their declarations of secession from the Union, the Southern states were clear about their primary motive: the Northern states’ refusal to extradite escaped slaves and their “increasing hostility... to the institution of slavery,” as South Carolina’s declaration stated.
“Slavery is not even a critical issue in the movie,” said Kathryn Stockett, author of “The Help,” about black maids in the South in the early 1960s.
“You have these African-Americans that are working for these white families, and it’s as if it’s just their job... something they chose to do,” Stockett says in the documentary “Old South, New South.”
For Randy Sparks, a Tulane University history professor, “Gone With the Wind” exemplifies the way Southerners were able to impose their version of events.
“There aren’t many cases in history,” Sparks said, “where the losers write the history.”
It was thanks to “Gone With the Wind” that in 1940 Hattie McDaniel, who plays Scarlett O’Hara’s faithful slave “Mammy,” won the first Oscar awarded to a black actress.
But racial segregation was still deeply rooted in Hollywood, as in many parts of American society, and on Oscar night McDaniel had to sit at a small table in the rear of the famed Cocoanut Grove nightclub in the Ambassador Hotel, far from the film’s big stars, Vivian Leigh and Clark Gable.
Producer David O. Selznick had to intervene personally to secure her a room in the Ambassador, which refused to admit black customers until 1959.