Winners
Award includes 'Rajat Kamal' (Silver Lotus Award) and cash prize. Following are the award winners over the years:
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List of award films, showing the year (award ceremony), producer(s), director(s) and citation | ||||
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Year | Film(s) | Producer(s) | Director(s) | Citation |
1954 |
Mirza Ghalib | Minerva Moviestone | Sohrab Modi | – |
1954 |
Jagriti | Filmistan Ltd. | Satyen Bose | – |
1955 |
Jhanak Jhanak Payal Baaje | Rajkamal Kalamandir | V. Shantaram | – |
1955 |
Shree 420 | R. K. Films | Raj Kapoor | – |
1955 |
Devdas | Bimal Roy Productions | Bimal Roy | – |
1956 |
Basant Bahar | Shri Vishwa Bharati Films | R. Chandra | – |
1957 |
Do Aankhen Barah Haath | Rajkamal Kalamandir | V. Shantaram | – |
1957 |
Mother India | Mehboob Productions | Mehboob Khan | – |
1957 |
Musafir | Hrishikesh Mukherjee | Hrishikesh Mukherjee | – |
1958 |
Madhumati | Bimal Roy | Bimal Roy | – |
1958 |
Lajwanti | Mohan Segal | Narendra Suri | – |
1958 |
Karigar | Vasant Joglekar | Vasant Joglekar | – |
1959 |
Anari | Lachman B. Lulla | Hrishikesh Mukherjee | – |
1960 |
Mughal-e-Azam | K. Asif | K. Asif | – |
1960 |
Jis Desh Men Ganga Behti Hai | Raj Kapoor | Radhu Karmakar | – |
1960 |
Kanoon | B. R. Chopra | B. R. Chopra | – |
1961 |
Dharmputra | B. R. Chopra | Yash Chopra | – |
1961 |
Gunga Jumna | Dilip Kumar | Nitin Bose | – |
1961 |
Pyaar Ki Pyaas | Anupam Chitra | Mahesh Kaul | – |
1962 |
Sahib Bibi Aur Ghulam | Guru Dutt | Abrar Alvi | – |
1963 |
Bandini | Bimal Roy Productions | Bimal Roy | – |
1963 |
Mere Mehboob | Harnam Singh Rawail | Harnam Singh Rawail | – |
1963 |
Gumrah | B. R. Films | B. R. Chopra | – |
1964 |
Dosti | Tarachand Barjatya | Satyen Bose | – |
1964 |
Yaadein | Sunil Dutt | Sunil Dutt | – |
1964 |
Geet Gaya Patharon Ne | V. Shantaram Productions | V. Shantaram | – |
1965 |
Shaheed | Kewal Kashyap | S. Ram Sharma | – |
1965 |
Oonche Log | M/S Chitrakala | Phani Majumdar | – |
1965 |
Guide | Dev Anand | Vijay Anand | – |
1966 |
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1967 |
Hamraaz | B. R. Chopra | B. R. Chopra | – |
1968 |
Aashirwad | • N. C. Sippy • Hrishikesh Mukherjee |
Hrishikesh Mukherjee | – |
1969 |
Satyakam | Sher Jeng Singh Punchee | Hrishikesh Mukherjee | – |
1970 |
Anand | • Hrishikesh Mukherjee • N.C. Sippy |
Hrishikesh Mukherjee | – |
1971 |
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1972 |
Maya Darpan | Kumar Shahani | Kumar Shahani | – |
1973 |
27 Down | (Late) Awatar Krishna Kaul | (Late) Awatar Krishna Kaul | – |
1974 |
No Award | |||
1975 |
Nishant | • Freni M. Variava • Mohan J. Bijlani |
Shyam Benegal | – |
1976 |
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1977 |
Shatranj Ke Khiladi | Suresh Jindal | Satyajit Ray |
For the skilful juxtaposing and interweaving of two parallel destinies, the personal and the political; for the setting these against the decadent splendor of the court of Avadh, recreated with a sense of great pictorial beauty and musical charm; for presenting vividly the clash of two cultures, irreconcilable in their distinctive views of the world; for performances of remarkable depth and range, true to the style and flavour of the period. |
1978 |
Kasturi | Bimal Dutt | Bimal Dutt |
For a lyrical depiction of the elemental and eternal conflict between science and superstition. |
1978 |
Junoon | Shashi Kapoor | Shyam Benegal |
For overall technical virtuousity and successful evocation of a bygone era. |
1979 |
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1980 |
Aakrosh | Devi Dutt | Govind Nihalani |
For its severe indictment of an establishment and a society that permits injustice, for presenting a bold theme in a cinematic style which makes it both socially and aesthetically significant. |
1981 |
Arohan | Government of West Bengal | Shyam Benegal |
For hard-hitting treatment of contemporary reality, especially as it is reflected in the continuing predicament of the West Bengal peasantry. |
1982 |
Katha | Suresh Jindal | Sai Paranjpye |
For its social satire of great charm and wit. |
1983 |
Ardh Satya | • Manmohan Shetty • Pradeep Uppoor |
Govind Nihalani |
For its powerful exploration of a labyrinthine socio-political situation. |
1984 |
Paar | Swapan Sarkar | Gautam Ghose | – |
1985 |
Anantyatra | Nachiket Patwardhan | • Nachiket Patwardhan • Jayu Patwardhan |
For an unusual film blending with fact and fantasy, dealing with the contemporary subject of the frustrations of middle-aged executive, presented with wit and humour. |
1986 |
Mirch Masala | NFDC | Ketan Mehta |
For its moving depiction of a rural woman's struggle against oppressive social conditions in the pre-Independence era. |
1987 |
Pestonjee | NFDC | Vijaya Mehta |
For creating an exquisite and gentle tale full of irony, stressing the universal need for human companionship, loyalty and acceptance of life. |
1988 |
Salaam Bombay! | • NFDC • Mirabai Films • Doordarshan |
Mira Nair |
For exploring the tragic realities of life for the homeless children and women and those enmashed by drugs. |
1989 |
Salim Langde Pe Mat Ro | NFDC | Saeed Akhtar Mirza |
For its novel examination of the nexus between urban lumpen life, crime and religious revivalism. |
1990 |
Drishti | Govind Nihalani | Govind Nihalani |
For depicting marital pain very effectively. |
1991 |
Diksha | • NFDC • Doordarshan |
Arun Kaul |
For the impressive treatment of a relevant social theme. |
1991 |
Dharavi | • NFDC • Doordarshan |
Sudhir Mishra |
For its affirmation of the indefatigable human spirit of survival. |
1992 |
Suraj Ka Satvan Ghoda | NFDC | Shyam Benegal |
For its poetically charming enquiry into the nature and meaning of love. |
1993 |
Patang | Sanjay Sahay Durba Sahay |
Gautam Ghose |
For a restrained and symbolic portrayal of love and betrayal and of the various layers of moral corruption, which overpower the lives of innocents. |
1994 |
Mammo | • NFDC • Doordarshan |
Shyam Benegal |
For a poignant narrative of a family set against the trauma of exiled people in past post partition India. |
1995 |
Bandit Queen | Sundeep Singh Bedi | Shekhar Kapur |
For its stark and frank portrayal of an Indian woman in a caste ridden society. |
1996 |
Gudia | • Amit Khanna • Mahesh Bhatt |
Gautam Ghose |
For an unusual exploration into the lives of traditional entertainers and the entwined relationships between the animate and inanimate players that develop into an obsession. |
1997 |
Hazaar Chaurasi Ki Maa | Govind Nihalani | Govind Nihalani |
For a moving depiction of the story of a mother who beings to realise her son's values and beliefs only after his tragic death and in the process emerges a stronger being. |
1998 |
Godmother | Gramco Films | Vinay Shukla |
The films deals with contemporary power structure and confronts violence, corruption and passions with ease. The music, art direction and the dialogues combine to create a strong ethnic character setting a new trend in popular Indian cinema. |
1999 |
Shool | • Nitin Manmohan • Ram Gopal Varma |
E. Nivas |
For unveiling the complete collapse of the socio-political system. A very effective portrayal of the determined fight of a single citizen in the centre of a façade of democracy. |
2000 |
Zubeidaa | Farouq Rattonsey | Shyam Benegal |
For the political turmoil has been juxtaposed with the upheavals of the life of a tempestuous Muslim girl who defies all norms to marry a much married maharaja. It is a story of obsessive love in the times of political priorities in post independent India. |
2001 |
Dil Chahta Hai | Ritesh Sidhwani | Farhan Akhtar |
For artistically and humorously portraying the growing up years of young persons in modern society. |
2002 |
The Legend of Bhagat Singh | Tips Industries | Rajkumar Santoshi |
For its gripping portrayal of the life and times of a legendary martyr. |
2003 |
Raghu Romeo | NFDC | Rajat Kapoor |
For a zestful spoof of popular culture where the boundaries of illusion and reality collapse and the common man turns into hero. |
2004 |
Raincoat | Shree Venkatesh Films | Rituparno Ghosh |
For its subtle handling of human relationship in a low-keyed fashion yet mentioning the warmth of a lost love. |
2005 |
Black | • Anshuman Swami • Sanjay Leela Bhansali |
Sanjay Leela Bhansali |
For a stylised and visually vibrant tale of a physically challenged child who learns to live and become an achiever against insurmountable odds. |
2006 |
Khosla Ka Ghosla | Savita Raj Hiremath | Dibakar Banerjee |
For an original Portraying the middle class struggle against the real estate mafia. |
2007 |
1971 | Sagar Films | Amrit Sagar |
A sensitive depiction of the ordeal of Indian prisoners of war trapped between extreme hostility and official apathy in an alien land and showing fortitude in a hopeless situation. |
2008 |
Rock On!! | Excel Entertainment Pvt. Ltd. | Abhishek Kapoor |
For an emotional story of musical bonding. |
2009 |
Paa | • Amitabh Bachchan Corporation • Sunil Manchanda |
R. Balki |
A heart rendering, yet unsentimental portrayal of a family dealing with a tragedy foretold. |
2010 |
Do Dooni Chaar | Arindam Chaudhuri | Habib Faisal |
For an entertaining narrative that brings to the fore the struggle of a school teacher who is torn between maintaining his integrity and the lure of a little more comfort. |
2011 |
I Am | • Onir • Sanjay Suri |
Onir |
For the dexterous weaving of four different stories across India which negotiate the complexities of people undergoing the trauma of being dispossessed and thereby disempowered. The director attempts to bridge links between various social issues of those suffering the consequences of political exile; some face humiliation for their sexual preferences while others feel the pain of violation. |
2012 |
Filmistaan | Satellite Picture Pvt. Ltd. | Nitin Kakkar |
A gripping tale of a Mumbai film buff who gets unwittingly involved in a cross border misadventure only to realize how divided hearts can be brought together through cinema. |
Read more about this topic: National Film Award For Best Feature Film In Hindi
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“The two real political parties in America are the Winners and the Losers. The people dont acknowledge this. They claim membership in two imaginary parties, the Republicans and the Democrats, instead.”
—Kurt Vonnegut, Jr. (b. 1922)