Winners
Indicates a joint award for that year |
List of award recipients, showing the year (award ceremony), film(s), language(s) and citation | |||||
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Year | Image | Recipient(s) | Film(s) | Language(s) | Citation |
1984 |
Rohini Hattangadi | Party | Hindi |
For the intense and a delicate portrayal of a dissatisfied fading actress. |
|
1985 |
– | Vijaya Mehta | Rao Saheb | Hindi |
For the delicate delineation of the role of a middle-aged widow fighting for modernity though herself rooted in tradition. |
1986 |
– | Manjula Kanwar | Bhangala Silata | Oriya |
For a startlingly realistic portrayal of an exploited, illiterate woman who lives like a haunted animal, trapped into accepting her ultimate fate. |
1987 |
Surekha Sikri' | Tamas | Hindi |
For her compelling performance as a woman who has not lost her innate human goodness even under the most adverse and stressful conditions of the holocaust. |
|
1988 |
– | Uttara Baokar | Ek Din Achanak | Hindi |
For essaying the difficult role of a wife caught in the midst of unique social and psychological predicament. |
1989 |
– | Manorama | Pudhea Paadhai | Tamil |
For the versatility shown. |
1990 |
– | K. P. A. C. Lalitha | Amaram | Malayalam |
For portraying an ethnic character with authenticity. |
1991 |
– | Santha Devi | Yamanam | Malayalam |
For her work in the film, who lives the role of the understanding and tormented mother. |
1992 |
Revathi | Thevar Magan | Tamil |
For compelling and convincing performance of an innocent village girl, giving it an effortlessly charming naturalness. |
|
1993 |
Neena Gupta | Woh Chokri | Hindi |
For a realistic portrayal of a loving mother and a betrayed wife, revealing shades of love, hate and anxiety. |
|
1994 |
Surekha Sikri | Mammo | Hindi |
For her portrayal of surrogate mother, underplayed with quite sensitivity and gentleness. |
|
1995 |
– | Aranmula Ponnamma | Kathapurushan | Malayalam |
For her work in the film in which she plays the role of a grand mother with tremendous sensitivity which makes her presence in the film memorable. |
1996 |
Rajeshwari Sachdev | Sardari Begum | Urdu |
For her role in the film, in which she depicts the aspirations and agony of a lonely teenage girl. |
|
1997 |
Karisma Kapoor | Dil To Pagal Hai | Hindi |
For her spirited and moving performance as a young woman who values friendship and love. |
|
1998 |
Suhasini Mulay | Hu Tu Tu | Hindi |
For bringing alive negative personality without losing her human face. She acts with conviction and comes up with a powerful performance. |
|
1999 |
– | Sudipta Chakraborty | Bariwali | Bengali |
For essaying the zest for life of a maidservant who comes from the slums and lives in a Haveli. |
1999 |
– | Sohini Haldar | Paromitar Ek Din | Bengali |
For breathing life into the schizophrenic daughter who knows she is a burden on her mother, but cannot help it. |
2000 |
– | K. P. A. C. Lalitha | Shantham | Malayalam |
For the role of Narayani in the film. Narayani is an elderly mother whose son has been killed in political violence. In the course of the film, she is transformed, gently and unobtrusiveuly into a crusade for peace. Lalitha brings great professional skills and sensitivity to the role. |
2001 |
Ananya Khare | Chandni Bar | Hindi |
For her humane and realistic performance of a complex character. |
|
2002 |
Raakhee Gulzar | Shubho Mahurat | Bengali |
For her finely balanced portrayal of an enigmatic and unlikely detective against a simple middle class background. |
|
2003 |
Sharmila Tagore | Abar Aranye | Bengali |
For the grace with which she handles social and personal relationships. |
|
2004 |
– | Sheela | Akale | Malayalam |
For the grace with which she handles the tragedy of a community that is slowly fading away. |
2005 |
– | Urvashi | Achuvinte Amma | Malayalam |
For the highly credible performance of a brave woman who pledges her life and love for an adopted child. |
2006 |
Konkona Sen Sharma | Omkara | Hindi |
For the textured characterisation of a village woman trying to bring sanity in the violent lives of a political family in Uttar Pradesh. |
|
2007 |
Shefali Shah | The Last Lear | English |
For her smoldering portrayal of a woman dealing with her intense relationship with an older man with a towering personality. |
|
2008 |
Kangna Ranaut | Fashion | Hindi |
For compelling portrayal of a down and out supermodel that enriches the impact of the film. |
|
2009 |
Arundathi Nag | Paa | Hindi |
For the restraint with which she conveys strength, compassion and understanding to her daughter, a single mother, bringing up a son stricken with a rare degenerative disease. |
|
2010 |
Sukumari | Namma Gramam | Tamil |
For a sensitive portrayal of an aged widow who challenges orthodoxy when restrictions are placed upon her widowed granddaughter. |
|
2011 |
– | Leishangthem Tonthoingambi Devi | Phijigee Mani | Manipuri |
For the dignity and power with which she informs the character Yaiphabee in this tightly controlled Manipuri story. Her compelling presence on screen brings into focus the ubiquitous conflicts of changing India: tradition, urbanization and migration of the employable young from rural India. She gives force to the representation of Manipur and the Northeast in the realm of mainstream Indian consciousness of career, personal agency and reconciliation between the past and the present. |
2012 |
Dolly Ahluwalia | Vicky Donor | Hindi |
As an urban, middle-class housewife, the actor brings to life the daily ups and downs of a mother with a balanced touch of humour. |
|
2012 |
– | Kalpana | Thanichalla Njan | Malayalam |
The role of a large-hearted yet conventional Muslim lady harbouring a hapless Hindu woman, respecting all her religious sentiments, has been portrayed with a certain natural flair by the actor. |
Read more about this topic: National Film Award For Best Supporting Actress
Famous quotes containing the word winners:
“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)