While most of the contemporary Bollywood filmmakers are busy remaking films either from South Indian, old blockbusters or Hollywood movies and making sequels to their super hit films, the Indian diasporic directors seem to be more attracted towards converting literary books into movies. Recently, Mira Nair announces that her upcoming film will be based on Queen of Katwe, an award winning book by Tim Crothers, on a teenager, Phiona Mutesi, who became a chess champion. In fact, most of the NRI filmmakers try to bring life to the writing fiction in a blend of both the Indian and Western cultures, as we can see in Gurinder Chaddha’s Bride and Prejudice.
The cinema of diaspora is growing big day by day, forming a parallel to the mainstream Bollywood movies in terms of script and popularity, thus providing a new dimension to cinema on the global level. Directors like Mira Nair and Deepa Mehta dare to deal with controversial issues boldly. They are not following the popular script of Bollywood, love stories and drama, instead these directors, with their hybrid culture; deal with sensitive issues of the society in their movies, such as Deepa Mehta’s elements trilogy (Fire-1996, Earth-1998 & Water-2005), based on Chugtai’s Lihaf, Sidwa’s Ice Candy Man and Water: A Novel respectively. However, unfortunately, these movies are often not well received among the Indian audience, even though they achieved great recognition worldly. They are often screened in International Films Festival and are award-winning films. This paper aims at analyzing the authenticity and acceptability of such movies created by the diasporic directors, whose scripts are derived from literary works.