Bestsellers behind the box office: 5 books that made Bollywood history

Indian Express

3 hours ago

(Written by Somya Panwar)
Lights! Camera! Literature! Over the years, Indian cinema has drawn inspiration from literature and transitioned the audience from readership to viewership by giving us some hit book-to-movie adaptations. This collaboration of Bollywood and literature has made it more convenient to absorb the plot through visuals. These films not only widen the scope of literature but offer a unique blend of cinema and books. Let's explore five such adaptations that made their way to the silver screen:
Haider (2014), a cult classic by Vishal Bharadwaj, reimagines Hamlet, Shakespeare's five-act revenge tragedy against the the politically charged backdrop of conflict-ridden Kashmir. If movie-goers found the film politically resonant, the credit reportedly goes to the film's poet-lyricist Gulzar as the film had earlier been conceived as an espionage thriller. Much like the tortured Prince Hamlet, Haider, – essayed by Shahid Kapoor – returns to the restive valley upon learning of his father's disappearance to confront his uncle, whom he suspects of foul play. Irrfan Khan, playing Hamlet's Ghost (Roohdaar), masterfully haunts both Haider and the audience, as he seeks justice. Tabu is dazzling as Haider's mother (Gertrude), while Kay Kay Menon does justice to the formidable and slippery Khurram (Claudius). Unlike Shakespeare's Hamlet, who delivers seven soliloquies, Haider distills this inner turmoil in just one: 'Hum hain ki hum nahin' ('To be or not to be').
Bhardwaj's Haider is the final installment in his acclaimed Shakespearean trilogy, following Maqbool (2003), inspired by Macbeth, and Omkara (2006), based on Othello. Each film masterfully transposes Shakespeare's themes of ambition, jealousy, and revenge into the Indian socio-political landscape.
Shahid Kapoor's performance in the titular role is widely regarded as one of his finest, earning him accolades including the National Film Award, Filmfare Award for Best Actor, and the IIFA Technical Award. With evocative cinematography and an emotionally charged narrative, Haider captures the existential anguish and moral conflict at the heart of Hamlet, while grounding it firmly in the reality of modern Kashmir.
Despite its slightly extended runtime, the film maintains narrative momentum and emotional depth throughout.
Sanjay Leela Bhansali's Saawariya (2008) is a lavish and stylised cinematic adaptation of White Nights, a short story by 19th-century Russian novelist Fyodor Dostoevsky. Bhansali reimagines Dostoevsky's tale of unfulfilled love and emotional isolation within the grand framework of Bollywood, casting Ranbir Kapoor and Sonam Kapoor in the lead roles. Through his protagonist who yearns for love, Bhansali remains faithful to Dostoevsky's recurring themes of self-destruction and human alienation, distilling the essence of White Nights on the big screen. Despite its impressive visuals and music, the film falls short on emotional depth due to an impoverished plot. Despite its lack of commercial success, the film remains a guilty pleasure for cinema enthusiasts who admire Sanjay Leela Bhansali's lavish and larger-than-life direction.
A perfect title that resonates with the identity crisis, a brilliant cast that strengthens the narrative, and music that evokes a sense of belonging, Mira Nair adapted Pulitzer Prize-winning novelist Jhumpa Lahiri's novel with remarkable finesse. The Namesake, starring Irrfan Khan and Tabu in lead roles dwells on the complexities of the immigrant experience and individuality.Lahiri is best known for exploring themes of cultural displacement and love through her body of work. The film's script reflects Lahiri's literary style, providing a faithful representation of her voice. The film explores, with great sensitivity, the cultural and social conflicts that come with an identity crisis—particularly for the children of immigrant parents. Mira Nair, known for her cinematic explorations of similar cultural themes, adeptly blends her directorial approach with Lahiri's nuanced storytelling. The protagonist, ashamed of his American-Desi identity, struggles to adapt to a foreign lifestyle and resents his parents for their cultural imposition. Nair aimed to portray a more empathetic and humanised version of Gogo, the protagonist, and her effort to capture this sense of 'in-betweenness' translates to the screen.
Vishal Bhardwaj's 7 Khoon Maaf is an adaptation of Ruskin Bond's classic short story Susanna's Seven Husbands. The plot follows the mysterious deaths of all seven of Susanna's husbands, holding the audience's attention with a suspenseful, well-constructed narrative.
Recognising the story's cinematic potential, Bhardwaj expanded the script, giving each character adequate screen time. The film integrates the seven deadly sins from Roman Catholic theology, aligning closely with Bond's original vision. However, despite these creative choices, the film's overdramatised execution and heavy-handed use of music undermined its impact, affecting its box office performance. Several actors, including Ruskin Bond himself, made a cameo in the film. Try to spot him if you watch the film!
Guide, directed by Vijay Anand, is a cinematic interpretation of RK Narayan's celebrated novel of the same name. Narayan, one of India's most respected authors, is best known for creating the fictional town of Malgudi. In 1964, Dev Anand approached Narayan to acquire the film rights for The Guide. Though the film went on to achieve both critical and commercial success, Narayan initially had reservations about major changes made to the plot, which he felt deviated from the spirit of his novel. When Dev Anand offered him a modest financial arrangement and a share of the profits, Narayan famously declined, saying, 'Let me rise or sink with your film. I do not want to exploit you.' Despite these early concerns, Guide went on to receive numerous awards and accolades, including an Oscar nomination. The film's rich visuals and linguistic elegance set a new benchmark in Bollywood's cinematic landscape, and continues to be revered as a landmark in Indian film history.
(The writer is an intern with The Indian Express.)