She has danced with her on stage, performed with her in plays and shared many of her life-changing moments, both professional and personal. And now, as her compatriot continues to earn accolades for a game-changing role in a record-smashing film, author and editor Sathya Saran rewinds to some of her friend’s most meaningful turning points
Neena Gupta is teaching me chhau. Her fluid, balanced movements translate into puppet-like actions through my limbs, but her patience will finally melt the stiffness and ensure me my place in the play. Later, as Andromache, one of the most tragic figures of The Trojan Women, the play by Euripides that we are rehearsing for Veenapani Chawla, I watch the dancer give way to the actor, her face a study in suppressed pain as she looks at her dead child.
Over the years I have spotted her in films where she always bagged the o eat role. The one that stood out, even when she was not the main player. Vasanti in Mandi (1983), Milagrenia in Trikal (1985), Mandira in Susman (1987).... Shyam Benegal knew how best to exploit her multilayered talent. Contrast her role as Madanika in Utsav (1984), simmering with sensuality, or as Champa Didi in Khal Nayak (1993) with Abha in Gandhi (1982) and I rest my case.
SCENE NEENA AS DURGA
She storms into my office where I am working as the editor of a magazine, asking if all journalists are “like this!” She plans to sue another editor of the group, she tells me; he has broken trust, bribed hospital officials and got hold of the birth certificate that names Viv Richards as her daughter’s father. I ask her how she will cope with being a single, unwed mother in an industry which, at least then, holds women to ransom for stepping off the beaten path. I remember her saying, she doesn’t give a damn!
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