The transformation of literary texts into visual narratives has long intrigued scholars, critics, and audiences alike. Adaptation, as both an art and a cultural practice, occupies a dynamic space between fidelity to the source material and the creative liberties of visual storytelling. This paper explores the multidimensional process of adapting literature into film, examining how narrative structures, character depth, and thematic intentions are translated—or transformed—through cinematic language. Far from being mere reproductions, adaptations function as interpretative acts that reimagine the original in response to the demands of a new medium and audience. By analysing both classical and contemporary case studies, such as Pride and Prejudice, Life of Pi, and The Namesake, the paper delves into how narrative compression, visual symbolism, and temporal restructuring reshape literary content. It also investigates how mathematical and structural principles—such as sequencing, pacing, and symmetry—underpin successful adaptations, offering parallels between literary logic and filmic construction. These implicit frameworks often determine how coherently a story transitions across media. The study also addresses theoretical concerns, including fidelity criticism, intertextuality, and Linda Hutcheon's widely cited framework that views adaptation as a form of "repetition without replication" (Hutcheon, 2013). Additionally, the paper highlights how adaptation enables cultural exchange, particularly through multilingual and cross-cultural projects that adapt Western texts for Indian audiences and vice versa. Moreover, the article draws attention to the challenges faced by filmmakers in visualising internal monologues, abstract themes, and nonlinear narratives—elements deeply embedded in literary aesthetics. The exploration further engages with the tension between authorial intent and directorial vision, noting that the process of adaptation often becomes a site of negotiation between textual fidelity and visual innovation.