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 |
Neelakuyil | Chandrathara Productions | • P. Bhaskaran • Ramu Kariat |
– |
1954 |
Sneha Seema | Associate Pictures | Dakshina Murthy | – |
1955 |
No Award | |||
1956 |
No Award | |||
1957 |
Padatha Painkili | Neela Productions | P. Subramaniam | – |
1958 |
Nairu Pidicha Pulivalu | T. E. Vasudevan | P. Bhaskaran | – |
1958 |
Randidangazhi | Neela Productions | P. Subramaniam | – |
1959 |
Chathurangam | Capt. (Dr.) G. T. Joshua | • J. D. Thottan • D. V. Swamy |
– |
1960 |
No Award | |||
1961 |
Mudiyanaya Puthran | Chandrathara Productions | Ramu Kariat | – |
1961 |
Kandam Becha Kottu | Modern Theatres | T. R. Sundaram | – |
1961 |
Sabarimala Ayyappan | K. Kuppuswamy | S. M. Sriramulu Naidu | – |
1962 |
Puthiya Akasam Puthiya Bhoomi | Associated Producers | M. S. Mani | – |
1962 |
Kalpadukal | T. R. Raghavan | K. S. Anthony | – |
1963 |
Ninamaninja Kalpadukal | • K. V. Bhavadas • N. K. Karunakara Pillai • K. Parameshwaran Nair |
N. N. Pisharody | – |
1963 |
Doctor | H. H. Ebrahim | M. S. Mani | – |
1963 |
Kalayum Kaminiyum | Neela Productions | P. Subramaniam | – |
1964 |
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1965 |
Kavyamela | T. E. Vasudevan | M. Krishnan Nair | – |
1965 |
Odayil Ninnu | P. Ramaswamy | K. S. Sethumadhavan | – |
1965 |
Murappennu | K. Parameswaran Nair | A. Vincent | – |
1966 |
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1967 |
Anveshichu Kandethiyilla | Ravi | P. Bhaskaran | – |
1968 |
Adhyapika | Neela Productions | P. Subramaniam | – |
1969 |
Adimakal | M. O. Joseph | K. S. Sethumadhavan | – |
1970 |
Ezhuthatha Katha | Jai Maruthy Pictures | A. B. Raj | – |
1971 |
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1972 |
Panitheeratha Veedu | K. S. R. Moorthy | K. S. Sethumadhavan | – |
1973 |
Gayathri | • A. R. Shreedharan Elayidom • P. B. Ashram |
P. N. Menon | – |
1974 |
Uttarayanam | Pattathuvila Karunakaran | G. Aravindan | – |
1975 |
Swapnadanam | T. Mohamed Babu | K. G. George | – |
1976 |
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1977 |
Kodiyettam | Kulathoor Bhaskaran Nair | Adoor Gopalakrishnan |
For capturing with an unerring eye for detail the trivia of village life; for presenting through its calculated pace and rhythm a true slice of a rural culture in Kerala; for revealing through seemingly insignificant vignettes the gradual transformation of a casual village drifter into a person of genuine worth and true dignity. |
1978 |
Thampu | K. Ravindran Nair | G. Aravindan |
For its cinematic virtousity and defiance of all narrative traditions of film making. |
1979 |
Peruvazhiyambalam | Prem Prakash | Padmarajan | – |
1980 |
Yagam | B. Chandramani Bai | Sivan |
For presenting dilemma of romantic revolutionary who understands the futility of his misadventure at the cost of some rare moments of happiness, for successfully building up the sense of impending doom underlining the human relationships throughout the film. |
1981 |
Elippathayam | K. Ravindranathan Nair | Adoor Gopalakrishnan |
For presenting the total decadence of the feudal system with unusual sensitivity and realism and for perceptively portraying the personal tragedy of those caught up in it. |
1982 |
Chappa | P. K. Abdul Latif | P. A. Backer |
For its powerful depiction of a lone individual's determined fight against tyranny. |
1983 |
Malamukalile Daivam | Surya Mudra Films | P. N. Menon |
For the courageous effort to present the cause of tribals and their efforts to join the national mainstream. |
1984 |
Mukhamukham | K. Ravindranathan Nair | Adoor Gopalakrishnan | – |
1985 |
Thinkalaazhcha Nalla Divasam | M. Mani | P. Padmarajan |
For exploring the layers of family relationship in a rural setting threatened by urban culture and explains how the imminent breakdown of the joint family is prevented by a death. |
1986 |
Uppu | K. M. A. Rahim | Pavithran |
For its depiction of people caught in the midst of religious conservatism. |
1987 |
Purushartham | P. T. K. Mohammad | K. R. Mohanan |
For creating highly disciplined work of great formal quality of a little boy's discovery of his dead father's environment and his eventual alienation from his mother. |
1988 |
Rugmini | • S. C. Pillai • Gigy Abraham |
K. P. Kumaran |
For compassionate depiction of the human condition permeating the dark realities of a social evil. |
1989 |
Mathilukal | Adoor Gopalakrishnan | Adoor Gopalakrishnan |
For its remarkable creation of an imprisoned writer's mind hovering between the pain of confinement, existential apprehension of death and the hallucinatory "reality" of sensual love. |
1990 |
Vasthuhara | Ravindranath | G. Aravindan |
For being a human document, depicting the cruelties meted out by society to the dispossessed. |
1991 |
Kadavu | M. T. Vasudevan Nair | M. T. Vasudevan Nair |
For its simplicity of treatment in the delineation of rural life with a genuine feel for human values and relationships. |
1992 |
Swaroopam | P. T. K. Mohammed | K. R. Mohanan |
For its original concept and in-depth exploration of the psyche of a man who escapes into the mystic past to flee from the harsh reality of everyday life. |
1993 |
Vidheyan | K. Ravi | Adoor Gopalakrishnan |
For its in-depth handling and complex delineation of the psychological evolution of two characters, representative of the transformation of terror into power and its hold over the life of the existentialist outsider. |
1994 |
Sukrutham | Harikumar | M. M. Ramachandran |
Against the backdrop of impending death, complex marital and social relationships are explored. |
1995 |
Ormakalundayirikkanam | Salam Karassery | T. V. Chandran |
For the film, which through the eyes of a young boy traces the graph of a political transformation in Kerala. |
1996 |
Desadanam | Jayaraj | Jayaraj |
For depicting in an excellent manner the conflicts between love, traditional bonds and duties, arising out of religious beliefs. |
1997 |
Mangamma | NFDC | T. V. Chandran |
The film tells the story of a remarkable courageous middle class woman who takes challenge upon challenge in her stride. Each confrontation makes a comment on social structures. |
1998 |
Agnisakshi | Srishti Films | Shyamaprasad |
It authentically deals with the social ambience prevailing among the brahmin community ages ago. The story unfolded through the bold adventures of one brahmin woman, Thethi, who finally takes to Sanyas. |
1999 |
Punaradhivasam | N. P. Prakash | V. K. Prakash |
For depicting an intricately structured screenplay about the need for discovering new adjustments in family relationship and the complexities and fallacies of conjugal harmony. |
2000 |
Sayanam | M. P. Sukumaran Nair | M. P. Sukumaran Nair |
For the film with a wonderful structure and well worked out mise-en-scenes tries to depict a complex story of the Christian community in a simple manner. |
2000 |
Kochu Kochu Santhoshangal | Grihalakshmi Films | Sathyan Anthikad |
For a brilliant narrative depicting the complex relationship between a dancer wife and a loving husband. It highlights the values of life, art and the co-existence of the two. |
2001 |
Danny | T. V. Chandran | T. V. Chandran |
For documenting the of life of an ordinary human being who is denied any meaningful relationship within his family. In the end however the film very subtly but effectively brings out the triumph of the dignity of human relationships. |
2002 |
Nizhalkuthu | Adoor Gopalakrishnan | Adoor Gopalakrishnan |
For its exploration of the mind of a hangman. |
2003 |
Saphalam | Anil Thomas | Asok R. Nath |
For its sensitive portrayal of an old couple in their loneliness and togetherness. |
2004 |
Akale | Tom George Kolath | Shyamaprasad |
For its sensitive handling of characters trapped in tragic situation, in an unconventional filmic way. |
2005 |
Thanmathra | Century Films | Blessy |
For the moving depiction of a middle class family which struggles to lead a dignified life in the face of the house holder’s gradual loss of memory. |
2006 |
Drishtantham | M. P. Sukumaran Nair | M. P. Sukumaran Nair |
For a powerful tribute to the co modification of ancient tradition. |
2007 |
Ore Kadal | Vindhyan N. B. | Shyamaprasad |
A well crafted movie on the emotional conflict of a middle class housewife irresistibly drawn to a radical intellectual. |
2008 |
Thirakkatha | Varnachithra Big Screen | Ranjith |
For its poignant story of an actress told with sincerity and conviction. |
2009 |
Keralavarma Pazhassiraja | A. M. Gopalan | T. Hariharan |
For recreating the life and times of a forgotten and unsung hero who gave the first call of freedom from British rule. |
2010 |
Veettilekkulla Vazhi | B. C. Joshi | Dr. Biju |
For narrating the story of a doctor who overcomes personal loss to journey through an unfamiliar landscape to fulfil a promise to a dying mother and in the process finds a personal salvation. |
2011 |
Indian Rupee | August Cinema | Ranjith |
For its seemingly breezy take on the booming real estate sector of urban Kerala, mirrored in towns and cities all over India, of irregularly employed youth who give up traditional values of family, society and education for quick money. But what director manages to communicate is the message that crime eventually does pay, but at almost unbearable loss of self esteem, panic, anxiety and loneliness. |
2012 |
Celluloid | Kamal & Ubaid | Kamal |
The trials and tribulations of the passionate filmmaker and father of Malayalam cinema, J.C. Daniel are poignantly depicted in this biopic. |
Read more about this topic: National Film Award For Best Feature Film In Malayalam
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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)