| National Film Award for Best Popular Film Providing Wholesome Entertainment | ||
| Award Information | ||
|---|---|---|
| Type | National | |
| Category | Movies | |
| Instituted | 1974 | |
| First Awarded | 1974 | |
| Last Awarded | 2011 | |
| Total Awarded | 32 | |
| Awarded by | Directorate of Film Festivals, India | |
| Cash Award | ||
| Medal | Golden Lotus (Swarna Kamal) | |
| First Awardee(s) | Kora Kagaz | |
| Last Awardee(s) | Azhagarsamiyin Kuthirai | |
The National Film Award for Best Popular Film Providing Wholesome Entertainment is one of the National Film Awards presented annually by the Directorate of Film Festivals, India, and was constituted in the year 1975. 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.
| Indicates a joint award for the year |
| List of award recipients, showing the year, films(s), producer(s), director(s), language and citation | ||||||
|---|---|---|---|---|---|---|
| Year (Award Ceremony) |
Film | Language | Producer | Director | Citation | |
| 1974 (22nd) |
Kora Kagaz |
Hindi | Sanat Kothari for Shreeji Films | Anil Ganguly | – | |
| 1975 (23rd) |
Tapasya[2] | Hindi | Rajshri Productions | Anil Ganguly | – | |
| 1976 (24th) |
||||||
| 1977 (25th) |
Swami[3] | Hindi | Jaya Charavarthy | Basu Chatterjee | For a taut script, for restrained, mature and dignified performances (especially by Girish Karnad), for meticulous attention to detail, for maintaining the spirit of the original story and translating it into the film medium with effectiveness and grace, for giving an old theme a contemporary relevance, for providing that it is possible to make a film with popular appeal without surrendering psychological truth or artistic values. | |
| 1978 (26th) |
Ganadevata[4] | Bengali | Department of Information and Cultural Affairs, Government of West Bengal | Tarun Majumdar | For brilliant picturisation of modern literary classic. Like the novel, film succeeds in capturing a whole era in transition. Steering clear of both commercial vulgarisation and pretentiousness, the film uses all the cinematic, to effectively communicate to the masses. | |
| 1979 (27th) |
Sankarabharanam[citation needed] | Telugu | Edida Nageshwara Rao | Kasinadhuni Viswanath | – | |
| 1980 (28th) |
No Award[5] | |||||
| 1981 (29th) |
No Award[6] | |||||
| 1982 (30th) |
No Award[7] | |||||
| 1983 (31st) |
No Award[8] | |||||
| 1984 (32nd) |
Koni[9] | Bengali | Government of West Bengal | Saroj Dey | – | |
| 1985 (33rd) |
No Award[10] | |||||
| 1986 (34th) |
Samsaram Adhu Minsaram[11] | Tamil | AVM Productions | Visu | For its entertaining presentation of a complex contemporary social problem — the disintegration of the joint family. | |
| 1987 (35th) |
Pushpaka Vimana[12] | Silent film | Shringar Nagaraj and Singeetam Srinivasa Rao | Singeetam Srinivasa Rao | For its innovative approach to entertainment. | |
| 1988 (36th) |
Qayamat Se Qayamat Tak[13] | Hindi | Nasir Hussain Films | Mansoor Khan | For presenting fresh and clean charm on celluloid with discerning imagination. | |
| 1989 (37th) |
Chandni[14] | Hindi | Yash Raj Films | Yash Chopra | For providing clean and romantic entertainment illuminated with smooth performances and fresh lyrics in folk form. | |
| Geethanjali[14] | Telugu | Bhagyalakshmi Enterprises | Mani Ratnam | For its innovative approach in depicting youthful passion. | ||
| 1990 (38th) |
Ghayal[15] | Hindi | Dharmendra | Rajkumar Santoshi | For being thematically highly credible, emotionally very well-woven, logically executed, and technically superb film. | |
| 1991 (39th) |
No Award[16] | |||||
| 1992 (40th) |
Sargam[17] | Malayalam | Bhavani | Hariharan | For its delighful rendering of a family saga into a heartwarming musical film. | |
| 1993 (41st) |
Manichitrathazhu[18] | Malayalam | Appachan | Fazil | For handling an unusual subject of psychological aberration in a conservative society and the ultimate acceptance of a modern approach. | |
| Darr[18] | Hindi | Yash Chopra | Yash Chopra | For its convincing presentation of the theme of love, which has been rendered complex by its relationship with past experiences of fear. | ||
| 1994 (42nd) |
Hum Aapke Hain Koun..![19] | Hindi | Rajshri Productions | Sooraj R. Barjatya | For revolutionising mass entertainment in India with a family entertainer and a fantasy film that succeeds without recourse to familiar narrative idioms of violence. | |
| 1995 (43rd) |
Dilwale Dulhania Le Jayenge[20] | Hindi | Yash Chopra | Aditya Chopra | For providing meaningful family entertainment through a simple love story with kindness and sensitivity. | |
| 1996 (44th) |
Maachis[21] | Hindi | R. V. Pandit | Gulzar | For powerful depiction of Punjab situation, exploring the trauma, conflict and tragedy of the youth in Punjab. | |
| 1997 (45th) |
Dil To Pagal Hai[22] | Hindi | Yash Chopra | Yash Chopra | For its clean, fun-loving portrayal of young people in the film that moves effortlessly and avoids any signs of violence or vulgarity. | |
| 1998 (46th) |
Kuch Kuch Hota Hai[23] | Hindi | Yash Johar | Karan Johar | For the irresistible charm and universal appeal of its story, music, dance and performances. | |
| 1999 (47th) |
Sarfarosh[24] | Hindi | John Matthew Matthan | John Matthew Matthan | For its engrossing projection of an honest officer, who fights engineered subversion which fuels suspicion and sours relationship between two communities. A bold subject for the debut film of a director in mainstream cinema. | |
| 2000 (48th) |
Vaanathaippola[25] | Tamil | Venu Ravichandran | Vikraman | For its sincere projection of the values of a joint family and the need to share good and difficult times together. | |
| 2001 (49th) |
Lagaan[26] | Hindi | Aamir Khan | Ashutosh Gowariker | For showing the victory of the human spirit in the face of oppression and for the creative use of a Cricket game as a metaphor for both colonisation and nationalism. | |
| 2002 (50th) |
Devdas[27] | Hindi | Bharat Shah | Sanjay Leela Bhansali | For its technical finesse and its modern reinterpretation of an enduring classic. | |
| 2003 (51st) |
Munna Bhai M.B.B.S.[28] | Hindi | Vidhu Vinod Chopra | Rajkumar Hirani | For dealing with social issues with humor and compassion. | |
| 2004 (52nd) |
Veer-Zaara[29] | Hindi | Yash Raj Films | Yash Chopra | For invoking a touching tale of love highlighting the importance of human relationship above man-made boundaries. | |
| Autograph[29] | Tamil | Cheran | Cheran | For invoking nostalgia in a manner that is powerful yet poetic. | ||
| 2005 (53rd) |
Rang De Basanti[30] | Hindi | UTV Motion Pictures and Rakeysh Omprakash Mehra Pictures (P) Ltd. | Rakeysh Omprakash Mehra | For creating popular appeal that captures the angst of the younger generation with compassion and imagination. | |
| 2006 (54th) |
Lage Raho Munna Bhai[31] | Hindi | Vidhu Vinod Chopra | Rajkumar Hirani | For revalidating the philosophy of non-violence in a strife-torn world and helping rediscover the Gandhi within the common man. | |
| 2007 (55th) |
Chak De! India[32] | Hindi | Aditya Chopra | Shimit Amin | For thoroughly entertaining the audience, making one proud to be an Indian. A masterpiece of inspired filmmaking. | |
| 2008 (56th) |
Oye Lucky! Lucky Oye![33] | Hindi | UTV Motion Pictures | Dibakar Banerjee | For its intelligent treatment of an off-beat subject that makes it different within the popular format. | |
| 2009 (57th) |
3 Idiots[34] | Hindi | Vidhu Vinod Chopra | Rajkumar Hirani | For an intelligent entertainer that touches upon the contemporary concerns of society with great humour and engaging performances. | |
| 2010 (58th) |
Dabangg[35] | Hindi | Arbaaz Khan, Malaika Arora Khan and Dhillin Mehta | Abhinav Kashyap | For answering the need of cinegoers for entertainment rooted in Indian soil. | |
| 2011 (59th) |
Azhagarsamiyin Kuthirai[36] | Tamil | P. Madhan | Suseenthiran | For redefining conventional notions of modern entertainment and still gaining acceptance in the mainstream. The director boldly sets out to narrate a fable revolving around temple rituals within a completely realistic framework of farmers, politicians and the poor families of rural Tamil Nadu. His engagement with filmic language is as robust as the emotional graphs charted out by a massive ensemble of characters. | |
- Vijay Anand (Leading actor) and Jaya Bhaduri (Leading Actress) were awarded with Medallion
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