Neena, in 1993, while directing her debut feature film Bazar Sitaram, which won a National Film Award for the Best First Non-Feature Film celebrated filmmaker Shyam Benegal had told her, “Every story has to have a clear beginning, middle, and an end. Remember that and you will never fail.” This advice, it seems, she applied not only to the film but to her autobiography too. She follows a linear storytelling technique in her memoir Sach Kahun To.

Starting from her home in Galli no-1 Regar Pura, Karol Bagh, Delhi she narrates the past that was in the 60s and how her childhood and adolescent years were spent. She goes on talking about her first boyfriend Amlan Kusum Ghose, a Bengali boy studying at IIT Delhi and how she would meet secretly sneaking into his hostel room. He eventually became her husband. She recounts her days in National School of Drama and a very interesting incident where she was on the verge of being killed by a co-actor in a play Sakharam Binder, where in a scene; Sakharam smothers Champa (played by Neena) with a pillow. Instead of pressing the pillow lightly on her face he put all the strength on it and didn’t let her go. As her eyes were about to pop out she wanted to push him with all the might, to hell with the audience, she thought but the lights went out, and no one saw her pushing him.

Whether actors/stars really share their skeletons out of their closets while writing their memoirs is a matter of research even if they profess to believe in their book titles such as Nothing but Truth, or Swear to God, or whatever descriptive title they may choose. If one is talking about Neena Gupta, who is formidable, fearsome, and real, one can be sure that the memoir has to be complex yet straightforward and depicts her life and the world around her as a real glimpse.

The character of Nina Gupta might appear radical to you and me since she takes no heed of social dictations and has an out-of-wedlock child. On her journey, you will encounter a real woman, from childhood to the National School of Drama, an artist to an actress of enormous talent when she discovered her true calling at the age of sixty. A woman first and foremost, with every human emotion, including fear, insecurity, doubt, ambition, dreams, hopes, and desires like all of us, she certainly narrates it all.

Casting couches are notorious in the industry, she admits plainly and honestly. It is real, she says. Nevertheless, whether you lie on the couch or not is ultimately up to you. She does not name or disgrace the men who made these demands, even though she wishes to be true.  She mentions a number of people who have harmed her but does not name them specifically.  While she gives obvious hints in other cases, she leaves the readers to be on their own in discovering who the men were. For instance, when she speaks about her betrothal that never materialized, she states, "I was acquainted with Raghav's maternal grandfather, who was an eminent producer in India."

Self-assured and unobtrusive, she comes across as a strong individual and actor who has achieved great success despite numerous obstacles. Despite today's filmmakers' appreciation of her talents, Gupta sincerely acknowledges that the road to the top wasn't smooth. Her interesting story is determined by rejection, insults, deception, and rudeness, both personal and professional, she points out. Nowhere does she appear to be attempting to impress you; she speaks directly to you.

She puts on quite a show, tackling several aspects of her life practically head-on, but she floats through the issue with Vivian Richards, father of her daughter, the prominent style designer Masaba Gupta. She explains "another relationship" as a means of remaining reticent, if not quiet, in revealing details of her past relationship with the cricketer. She was sorry not to reveal more about her role as a mother. She imparts the euphoria and pride of motherhood that can only come from a mother's experience. Masaba's presence extends to more than just the blissful life she experienced and has continued to live. Shuddering she recalls how she tried to find her girl in the green room on the smoldering set of The Sword of Tipu after a fire broke out. 

It angered her to be designated as an actress, then to be generalized, since despite causing ripples for her role as the rock-solid Ketaki in the TV serial Khaandan, she was overflowed with downbeat roles, in spite of giving a stellar performance in many other films. 

She weaves personal and professional memories into her diary, and, as a result, explores both worlds simultaneously. A mix of details and issues that need more thought is presented. While Gupta tells personal stories, she usually mentions general facts about society, women, marriage, and love. "I pay attention to everyday details that are easy to overlook when I think of a lover. I don't pay attention to gorgeous moves or boxes tied with ribbons and bows."

When it comes to filmdom, her considerations are exact. She shares her distress in the business by saying, "No one is your companion. The business is a business." Apparently, a film entertainer, this business arrangement caused her distress. Despite being reluctant to speak of what Subhash Ghai said prior to filming the notorious song 'Choli ke peeche,' she does share what he said. In addition to seeing the endearing personalities behind prominent producers and entertainers, readers also learn a great deal about her in the background of countless films and television series. Furthermore, we get to discover Neena Gupta the entertainer and the one who isn't averse to tackling both the highs and lows of her excursion with weakness unblemished. Giving the chinks in the protective layer a look would seem to be the most convincing sign of certainty, wouldn't you agree?

Neena Gupta is becoming a household name thanks to the global rediscovery of her magnificent talent as an entertainer lately. While she may have been careless about some things, and even admits to regretting them in the epilogue, her sincerity stands out clearly.

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