The intention of this paper is to focus on the inevitability of change during adaptation, from fiction to film, which is essential and unavoidable, mandated both by the constraints of time and medium, with the example of Triveni’s Sharapanjara. Some film theorists have argued that a director should be nonchalant with the source, given that novel and film are entirely dissimilar entities, two singular art forms, and should be seen as such. Another line of argument is that though the director is invested