National Film Award for Best Feature Film
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National Film Award for Best Feature Film
| National Film Award for Best Feature Film | ||
| Award Information | ||
|---|---|---|
| Type | National | |
| Category | Movies | |
| Instituted | 1954 | |
| First Awarded | 1954 | |
| Last Awarded | 2011 | |
| Total Awarded | 59 | |
| Awarded by | Directorate of Film Festivals, India | |
| Cash Award |  2,50,000/- |
|
| Medal | Golden Lotus (Swarna Kamal) | |
| First Awardee(s) | Shyamchi Aai | |
| Last Awardee(s) | Byari and Deool | |
The National Award for Best Feature Film is one of the National Film Awards presented annually by the Directorate of Film Festivals, India, and was constituted in the year 1954. This is one of the Golden Lotus Awards (Swarna Kamal) given among National Film Awards. It is announced for films produced in a year across the country, in all Indian languages.
Only in the year 1979, no film was awarded as a best feature film.
Winners
| Indicates a joint award for that year |
| Year (Award Ceremony) |
Film | Language | Producer(s) | Director(s) | Citation |
|---|---|---|---|---|---|
| 1953 (1st) |
Shyamchi Aai[1] | Marathi | Pralhad Keshav Atre | Pralhad Keshav Atre | – |
| 1954 (2nd) |
Mirza Ghalib[2] | Hindi | Sohrab Modi | Sohrab Modi | – |
| 1955 (3rd) |
Pather Panchali[3][4] | Bengali | Government of West Bengal | Satyajit Ray | – |
| 1956 (4th) |
Kabuliwala[5] | Bengali | Charuchitra | Tapan Sinha | – |
| 1957 (5th) |
Do Aankhen Barah Haath[6] | Hindi | V. Shantaram | V. Shantaram | – |
| 1958 (6th) |
Sagar Sangamey[7] | Bengali | De Luxe Film Distributors Ltd | Debaki Bose | – |
| 1959 (7th) |
Apur Sansar[8][9] | Bengali | Satyajit Ray Productions | Satyajit Ray | – |
| 1960 (8th) |
Anuradha[10] | Hindi | Hrishikesh Mukherjee and L. B. Thakur | Hrishikesh Mukherjee | – |
| 1961 (9th) |
Bhagini Nivedita[11] | Bengali | Aurora Film Corporation | Bijoy Bose | – |
| 1962 (10th) |
Dada Thakur[12] | Bengali | Shyamlal Jalan | Sudhir Mukherjee | – |
| 1963 (11th) |
Shehar Aur Sapna[13] | Hindi | Naya Sansar | Khwaja Ahmad Abbas | – |
| 1964 (12th) |
Charulata[14][15] | Bengali | R. D. Bansal | Satyajit Ray | – |
| 1965 (13th) |
Chemmeen[16] | Malayalam | Babu Ismail Settu | Ramu Kariat | – |
| 1966 (14th) |
Teesri Kasam[citation needed] | Hindi | Shailendra | Basu Bhattacharya | – |
| 1967 (15th) |
Hatey Bazarey[17] | Bengali and Hindi | Asim Dutta | Tapan Sinha | – |
| 1968 (16th) |
Goopy Gyne Bagha Byne[18][19] | Bengali | Nepal Dutta and Asim Dutta | Satyajit Ray | – |
| 1969 (17th) |
Bhuvan Shome[20][21] | Hindi | Mrinal Sen Productions | Mrinal Sen | – |
| 1970 (18th) |
Samskara[22] | Kannada | Ramamanohara Chitra | Pattabhi Rama Reddy | – |
| 1971 (19th) |
Seemabaddha[23] | Bengali | Bharat Shamsher and Jang Bahadur Rana | Satyajit Ray | – |
| 1972 (20th) |
Swayamvaram[24] | Malayalam | Adoor Gopalakrishnan | Adoor Gopalakrishnan | – |
| 1973 (21st) |
Nirmalyam[25] | Malayalam | M. T. Vasudevan Nair | M. T. Vasudevan Nair | – |
| 1974 (22nd) |
Chorus[26][27] | Bengali | Mrinal Sen Productions | Mrinal Sen | – |
| 1975 (23rd) |
Chomana Dudi[28] | Kannada | Praja Films | B. V. Karanth | – |
| 1976 (24th) |
Mrigayaa[29] | Hindi | Uday Bhaskar International | Mrinal Sen | – |
| 1977 (25th) |
Ghatashraddha[30] | Kannada | Sadanand Suvarna | Girish Kasaravalli | For lifting the creative cinema of that region to new levels of artistic excellence, for delicacy of treatment and subtle use of the film medium, for the shifting perspective through which the tragic solution is revealed, for projecting the painful, tremulous transition from innocence to experience, for searing intellectual honesty, for the fusion of all the elements into a form so distinctive as to declare it a masterpiece. |
| 1978 (26th) |
No Award[31] | ||||
| 1979 (27th) |
Shodh[citation needed] | Hindi | Sitakant Misra | Biplab Roy Choudhary | – |
| 1980 (28th) |
Akaler Shandhaney[32][33] | Bengali | D. K. Films | Mrinal Sen | For brilliantly recreating the tragedy of the 1943 Bengal famine and focussing on the disturbing continuity of the conditions which created it, for the cinematic excellence of the film which explores human experience at the different levels and for the consummate artistry with which the complexity of the social-economic situation is fused into a poignant statement. |
| 1981 (29th) |
Dakhal[34] | Bengali | West Bengal Film Industry | Gautam Ghose | For the visual eloquence with which it portrays the travails of a daughter of a soil courageously fighting for a social justice in the face of all odds and for the remarkable ability of its young director who writes the screenplay, handles the camera, scores the music and directs the film in a poetic manner. |
| 1982 (30th) |
Chokh[35] | Bengali | Department of Information, Cultural Affairs India and Government of West Bengal | Utpalendu Chakrabarty | For its courage in exposing an aspect of contemporary reality which has great social relevance and for doing so with passion and integrity. |
| 1983 (31st) |
Adi Shankaracharya[36] | Sanskrit | NFDC | G. V. Iyer | For its dedication, depth and power and the impressive skill with which it captures the Indian philosophical tradition. |
| 1984 (32nd) |
Damul[37][38] | Hindi | Prakash Jha Productions | Prakash Jha | – |
| 1985 (33rd) |
Chidambaram[39] | Malayalam | G. Aravindan | G. Aravindan | For providing rare cinematic experience while delineating the inner conflicts and suffering of an individual set against the backdrop of the elements. |
| 1986 (34th) |
Tabarana Kathe[40] | Kannada | Girish Kasaravalli | Girish Kasaravalli | For an extremely sensitive probe into the anguish of a helpless individual caught in a bureaucratic web, depicted with great feeling and expertise as he waits for his pension, which arrives too late. |
| 1987 (35th) |
Halodhia Choraye Baodhan Khai[41] | Assamese | Sailadhar Barua and Jahnu Barua | Jahnu Barua | For its mastery of cinematic form and the totality of its film craft and for its authentic depiction of the Indian rural problem and for the life affirmating human dignity it portrays in the face of the most trying social circumstances. |
| 1988 (36th) |
Piravi[42] | Malayalam | Film Folks | Shaji N. Karun | For creattive evocation of human pathos with refined cinematic sensitivity. |
| 1989 (37th) |
Bagh Bahadur[43] | Bengali | Buddhadeb Dasgupta | Buddhadeb Dasgupta | For its portrayal of the steady destruction of rural folk traditions at the hands of a cheap and showy urban culture in the form a cinematically vibrant and heroic classical tragedy. |
| 1990 (38th) |
Marupakkam[44] | Tamil | NFDC | K. S. Sethumadhavan | For striking a balance between the existing traditional values and the modern values that are infused subsequently, and for treating the subject with the highest standards or aesthetic excellence. |
| 1991 (39th) |
Agantuk[45][46] | Bengali | NFDC | Satyajit Ray | For its masterly treatment of an unusual subject investing it with humour, suspense and drama accomplishing remarkable insight into human behavior. |
| 1992 (40th) |
Bhagwat Gita[47] | Sanskrit | T. Subbarami Reddy | G. V. Iyer | For successfully translating immortal philosophy of the Bhagavad Gita into a cinematic idiom. |
| 1993 (41st) |
Charachar[48] | Bengali | Gita Gope and Shankar Gope | Buddhadeb Dasgupta | For its poetic and typical representation of the eternal human longing for liberation and man's alienation from Nature. |
| 1994 (42nd) |
Unishe April[49] | Bengali | Rituparno Ghosh | Rituparno Ghosh | For a complex and impeccable rendition of fragmenting family relationships in urban India. The bond between a mother and daughter is extended to a defined space and time, and a drama immaculately constructed. |
| 1995 (43rd) |
Kathapurushan[50] | Malayalam | Adoor Gopalakrishnan | Adoor Gopalakrishnan | For the remarkable portrayal of the individual born on the eve of Independence. The film gives an insight into the socio-political evolution of the post-independent India through the individual with outstanding cinematic qualities and universal appeal. |
| 1996 (44th) |
Lal Darja[51] | Bengali | Chitrani Lahiri and Dulal Roy | Buddhadeb Dasgupta | For its poetic presentation and exploration of complexities of human relationship in a contemporay urban milieu. |
| 1997 (45th) |
Thaayi Saheba[52] | Kannada | Jayamala | Girish Kasaravalli | For its challenging portrayal of one woman who carries the burden of traditional constraints and restrictions of society and learns to overcome them with courage, dignity, sacrifice. In the process, she speaks for the emancipation of women. |
| 1998 (46th) |
Samar[53] | Hindi | Shyam Benegal, Sahyadri Films and NFDC | Shyam Benegal | For the innovative and human manner in which the director structures and presents a continuing social evil. |
| 1999 (47th) |
Vanaprastham[54] | Malayalam | Mohanlal | Shaji N. Karun | For its multi layered treatment of issues like caste system, patronage to the arts, Guru Shishya Parampara, and the identity crisis of a performing artiste. |
| 2000 (48th) |
Shantham[55] | Malayalam | P. V. Gangadharan | Jayaraj | For addressing the very contemporary issue of political rivalry and violence in our society in an unusually imaginative way. The language of the film goes beyond conventional narrative for appeal to calmness and good sense. |
| 2001 (49th) |
Dweepa[56] | Kannada | Soundarya | Girish Kasaravalli | For the film combines integrity, creativity and aesthetics in its depiction of both the dilemmas and the spirit of a family who defy logic and weather to hold on to their roots. |
| 2002 (50th) |
Mondo Meyer Upakhyan[57] | Bengali | Arya Bhattacharya | Buddhadeb Dasgupta | For its poetic exploration of human and social realities concerning people on the fringes of society. |
| 2003 (51st) |
Shwaas[58] | Marathi | Arun Nalawade | Sandeep Sawant | For its sensitive and moving portrayal of the relationship between a grandfather and his grandson when the child is about to lose his vision. |
| 2004 (52nd) |
Page 3[59] | Hindi and English | Bobby Pushkarna | Madhur Bhandarkar | For a complex and daring attempt which exposes the shallow world of Page 3 in a manner which is both savagely satirical yet gently ironical. |
| 2005 (53rd) |
Kaalpurush[60] | Bengali | Jugal Sughand | Buddhadeb Dasgupta | For a rare lyrical style and a unique cohesion of narrative structure and characters that allow it to flow on different planes. |
| 2006 (54th) |
Pulijanmam[61] | Malayalam | M. G. Vijay | Priyanandanan | For a layered film that uses metaphors to address global and local issues of contemporary society. |
| 2007 (55th) |
Kanchivaram[62] | Tamil | Percept Picture Company | Priyadarshan | For presenting a rare portrayal of Kanchi's silk weaver community, and the internal struggle of a weaver caught between his ideals and personal reams. A vibrant story and technical excellence blend to create a total cinematic experience. |
| 2008 (56th) |
Antaheen[63] | Bengali | Screenplay Films Pvt. Ltd. | Aniruddha Roy Chowdhury | For lyrical blend of technical devices in the right proportion to depict shifting human relationships in an urban scenario. |
| 2009 (57th) |
Kutty Srank[64] | Malayalam | Reliance Big Pictures | Shaji N. Karun | For its vision and cinematic craft that express the different perspectives of three women about the truth of the man in their lives. |
| 2010 (58th) |
Adaminte Makan Abu[65] | Malayalam | Salim Ahamed and Ashraf Bedi | Salim Ahamed | For a simple yet evocative articulation of humanist values that frees matters of faith from the constrictions of narrow parochialism. The concerns of Abu, son of Adam, are timeless and universal in their scope. |
| 2011 (59th) |
Deool[66] | Marathi | Abhijeet Gholap | Umesh Vinayak Kulkarni | For its witty, satirical and penetrative account of the politics involved in the commercialization of religion in India. Through a wonderfully authentic depiction of village life, mentality and gesture, Deool has a social, religious and commercial sweep, even as it individualizes each of its characters and endows them with a language and space of their own. The film ironically shows the wholehearted acceptance of commodified and clamorous religiosity in a land plagued by all the serious problems the country faces today, and it does so with laughter that is only slightly tinged with cynicism. |
| Byari[66] | Beary | Altaaf Hussain | Suveeran | For a powerful engagement with religious personal law handled with sensitivity and urgency. Through its female protagonist, writer director Suveeran, poignantly and dramatically conveys the trauma of a woman who has to deal with unjust religious strictures. The film calls for a review of the practices that continue to control the lives of many women in this country. | |
References
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