A visual adaptation of a literary text is a complex phenomenon, involving the basic paradox of word and image, so some sort of compression, omission is natural when the linguistic signs are converted into visual signs. The visual adaptation of a literary text may result into the reinterpretation, modulation, adaptation or reassessment of the meaning of earlier literary texts. The partition of the Indian subcontinent has got widespread resonance in literature but there has been a relative silence in serious cinema and academia about partition and its related issues. Bapsi Sidhwa's novel Ice-Candy-Man tries to reassess or reconstruct the history of Partition giving voice to the marginalised groups on the levels of gender, class, ethnicity and nationality. Sidhwa reviews the history of Partition from a more or less feminist and Pakistani perspective to displace or counter the discursive tendencies of historical thought in Europe or India. 1947: Earth, unlike the novel can be seen as part of the grand narratives of communal violence and human nature. The film adaptation of the novel closely adheres to the novel in terms of general plot or dialogues. But since cinema is entirely different medium having its own concerns of economics, authorship, production, distribution and reception, some of the issues in the novel are silenced while others are foregrounded. This dissertation studies the dynamics of the adaptation of Sidhwa's novel from this perspective.