MUMBAI: When an Archer hits the screen, it’s bound to be cinematic. In a landmark move that marries British literary mastery with Indian storytelling flair, Applause Entertainment has acquired exclusive screen rights to six of Jeffrey Archer’s most popular novels, The Clifton Chronicles, Fourth Estate, First Among Equals, The Eleventh Commandment, Sons of Fortune, and Heads You Win. This marks Applause’s first foray into global fiction adaptations and sets the stage for a string of prestige projects that promise political intrigue, media dynasties, and multi-generational drama with an unmistakably Indian flavour.
In a candid and entertaining conversation, author Jeffrey Archer and Applause Entertainment’s managing director Sameer Nair gave a glimpse into the creative chemistry behind this literary-meets-OTT deal. “I’m sentimental about my Everest story,” Archer said, musing about Prisoner of Birth, a title he still hopes will see a screen adaptation someday. Reflecting on timeless narratives, he added, “Jane Austen, Higgins, Agatha Christie they go on. A good story lasts and lasts.”
This acquisition isn’t just about borrowing bestsellers. “We’re looking to take these stories to a much wider audience,” Nair said. “The adaptations will be reimagined in Hindi, possibly Tamil or Bengali, and crafted for young adult sensibilities without compromising on Archer’s signature pace and drama.” The projects will be helmed by a wide pool of Indian creators Applause has previously collaborated with. “We’re already in discussions, and within the next 3–6 months, you’ll hear announcements,” Nair assured.
The creative challenges, however, aren’t just about casting or rewriting. “Jeffrey and I see eye-to-eye more easily than our lawyers do,” Nair quipped. “But that’s true for everything in showbiz. The lawyers will hold us up more than anyone else.” Archer added, tongue firmly in cheek, “I’ll wait to see the results before I comment again!”
The plan isn’t to play only to Archer’s existing readership either. As Nair explained, “Reading requires literacy. Consuming audiovisual content doesn’t. The idea is to make these adaptations contemporary, bold, and cinematic to reach beyond readers, to those who haven’t read the books, and make them fall in love with the story all over again.”
Asked about the marketing vision, Nair kept it grounded: “We’ve got to make the shows first. Once we do that, we’ll see where they go.” The team hinted at partnerships with global streaming platforms and a high-quality visual treatment, given Archer’s dense plotting and character arcs.
The move also fits squarely within Applause’s content philosophy of adapting compelling, well-known IPs with local creative sensibilities. The studio has previously reimagined formats like Scam 1992 and Criminal Justice for Indian audiences.
For Archer, whose books have sold over 275 million copies globally, this collaboration marks another chapter in his screen journey. His previous titles like Kane and Abel have made it to TV but often, without his permission. “I hate it when people say, ‘I loved Kane and Abel on television,’” Archer lamented. “They just stole the story!”
As for storytelling itself? Both Archer and Nair agree, it’s universal. “There’s no such thing as Indian or foreign storytelling. A local story is only good if it’s universal,” Nair summed up. Archer added, “I read an Italian novel recently The Leopard. Didn’t care that it was Sicilian. It was a damn good story.”
And now, six damn good stories are headed to Indian screens with a fresh voice, but Archer’s trademark twists intact. Let the adaptations begin.
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