മികച്ച ചലച്ചിത്രത്തിനുള്ള ദേശീയ പുരസ്കാരം നേടിയ ചലച്ചിത്രങ്ങൾ
ഡയറക്ടറേറ്റ് ഓഫ് ഫിലിം ഫെസ്റ്റിവലിന്റെ നേതൃത്വത്തിൽ എല്ലാ വർഷവും നൽകിവരുന്ന പുരസ്കാരമാണ് മികച്ച ചലച്ചിത്രത്തിനുള്ള ദേശീയ പുരസ്കാരം. ദേശീയ ചലച്ചിത്ര പുരസ്കാരങ്ങളിലെ സ്വർണ്ണകമലം വിഭാഗത്തിലാണ് ഈ പുരസ്കാരം ഉൾപ്പെടുന്നത്.
വിജയികൾ
| ഒന്നിലധികം ചലച്ചിത്രങ്ങൾ പുരസ്കാരം ലഭിച്ച വർഷത്തെ സൂചിപ്പിക്കുന്നു. |
| മികച്ച ചലച്ചിത്രത്തിനുള്ള ദേശീയ പുരസ്കാരം നേടിയ ചലച്ചിത്രങ്ങളുടെ പട്ടിക. | ||||||
|---|---|---|---|---|---|---|
| വർഷം | ചലച്ചിത്രം | ഭാഷ | നിർമ്മാതാവ് | സംവിധാനം | കുറിപ്പുകൾ | അവലംബം |
| 1953 (1st) | ശ്യാംചി ആയ് | മറാഠി | പ്രഹ്ലാദ് കേശവ് ആത്രേ | പ്രഹ്ലാദ് കേശവ് ആത്രേ | – | [1] |
| 1954 (2nd) | മിർസാ ഗാലിബ് | ഹിന്ദി | സോഹ്രബ് മോദി | സോഹ്രബ് മോദി | – | [2] |
| 1955 (3rd) | പഥേർ പാഞ്ചാലി | ബംഗാളി | പശ്ചിമ ബംഗാൾ സർക്കാർ | സത്യജിത് റേ | – | [3] |
| 1956 (4th) | കാബൂളിവാല | ബംഗാളി | Charuchitra | Tapan Sinha | – | [4] |
| 1957 (5th) | ദോ ആംഖേൻ ഭരാ ഹാത് | ഹിന്ദി | V. Shantaram | V. Shantaram | – | [5] |
| 1958 (6th) | സാഗർ സംഗമേയ് | ബംഗാളി | De Luxe Film Distributors | Debaki Bose | – | [6] |
| 1959 (7th) | അപുർ സൻസർ | ബംഗാളി | Satyajit Ray Productions | Satyajit Ray | – | [7] |
| 1960 (8th) | അനുരാധ | ഹിന്ദി | • Hrishikesh Mukherjee • L. B. Thakur | Hrishikesh Mukherjee | – | [8] |
| 1961 (9th) | ഭാഗിനി നിവേദിത | ബംഗാളി | Aurora Film Corporation | Bijoy Bose | – | [9] |
| 1962 (10th) | ദാദാ ഠാക്കൂർ | ബംഗാളി | Shyamlal Jalan | Sudhir Mukherjee | – | [10] |
| 1963 (11th) | ഷെഹർ ഔർ സപ്നാ | ഹിന്ദി | Naya Sansar | Khwaja Ahmad Abbas | – | [11] |
| 1964 (12th) | ചാരുലത | ബംഗാളി | R. D. Bansal | Satyajit Ray | – | [12] |
| 1965 (13th) | ചെമ്മീൻ | Malayalam | Babu Ismail Settu | Ramu Kariat | – | [13] |
| 1966 (14th) | തീസരീ കസം | ഹിന്ദി | Shailendra | Basu Bhattacharya | – | [14] |
| 1967 (15th) | ഹാതേ ബസാരേ | ബംഗാളി | Asim Dutta | Tapan Sinha | – | [15] |
| 1968 (16th) | ഗൂപി ഗൈനേ ബാഘ ബൈനേ | ബംഗാളി | • Nepal Dutta • Asim Dutta | Satyajit Ray | – | [16] |
| 1969 (17th) | ഭുവൻ ഷോം | ഹിന്ദി | Mrinal Sen Productions | Mrinal Sen | – | [17] |
| 1970 (18th) | സംസ്കാര | Kannada | Pattabhirama Reddy | Pattabhirama Reddy | – | [18] |
| 1971 (19th) | സീമബദ്ധ | ബംഗാളി | • Bharat Shamsher • Jang Bahadur Rana | Satyajit Ray | – | [19] |
| 1972 (20th) | സ്വയംവരം | Malayalam | Adoor Gopalakrishnan | Adoor Gopalakrishnan | – | [20] |
| 1973 (21st) | നിർമ്മാല്യം[i] | Malayalam | M. T. Vasudevan Nair | M. T. Vasudevan Nair | – | [21] |
| 1974 (22nd) | കോറസ്[ii] | ബംഗാളി | Mrinal Sen Productions | Mrinal Sen | – | [22] |
| 1975 (23rd) | ചോമന തുടി | Kannada | Praja Films | B. V. Karanth | – | [23] |
| 1976 (24th) | മൃഗയാ | ഹിന്ദി | Uday Bhaskar International | Mrinal Sen | – | [24] |
| 1977 (25th) | ഖതശ്രദ്ധ | 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. | [25] |
| 1978 (26th) | No Award | [26] | ||||
| 1979 (27th) | ശോധ് | ഹിന്ദി | Sitakant Misra | Biplab Roy Choudhary | – | [27] |
| 1980 (28th) | അകലേർ ശന്തനേ | ബംഗാളി | 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. | [28] |
| 1981 (29th) | ദാഘൽ | ബംഗാളി | 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. | [29] |
| 1982 (30th) | ചോഖ് | ബംഗാളി | • Department of Information, Cultural Affairs India • 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. | [30] |
| 1983 (31st) | ആദി ശങ്കരാചാര്യ | Sanskrit | NFDC | G. V. Iyer | For its dedication, depth and power and the impressive skill with which it captures the Indian philosophical tradition. | [31] |
| 1984 (32nd) | ദമുൽ | ഹിന്ദി | Prakash Jha Productions | Prakash Jha | – | [32] |
| 1985 (33rd) | ചിദംബരം | 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. | [33] |
| 1986 (34th) | തബരനകഥെ | 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. | [34] |
| 1987 (35th) | ഹലോധിയ ചൊരായേ ബാവോധൻ ഖായ് | Assamese | • Sailadhar Baruah • 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. | [35] |
| 1988 (36th) | പിറവി | Malayalam | Film Folks | Shaji N. Karun | For creattive evocation of human pathos with refined cinematic sensitivity. | [36] |
| 1989 (37th) | ബാഘ് ബഹാദുർ | ബംഗാളി | 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. | [37] |
| 1990 (38th) | മറുപക്കം | 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. | [38] |
| 1991 (39th) | ആഗന്തുക് | ബംഗാളി | NFDC | Satyajit Ray | For its masterly treatment of an unusual subject investing it with humour, suspense and drama accomplishing remarkable insight into human behavior. | [39] |
| 1992 (40th) | ഭഗവത് ഗീത | Sanskrit | T. Subbarami Reddy | G. V. Iyer | For successfully translating immortal philosophy of the Bhagavad Gita into a cinematic idiom. | [40] |
| 1993 (41st) | ചരാചർ | ബംഗാളി | • Gita Gope • Shankar Gope | Buddhadeb Dasgupta | For its poetic and typical representation of the eternal human longing for liberation and man's alienation from Nature. | [41] |
| 1994 (42nd) | ഉനീഷെ ഏപ്രിൽ | ബംഗാളി | 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. | [42] |
| 1995 (43rd) | കഥാപുരുഷൻ | 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. | [43] |
| 1996 (44th) | ലാൽ ദർജ | ബംഗാളി | • Chitrani Lahiri • Dulal Roy | Buddhadeb Dasgupta | For its poetic presentation and exploration of complexities of human relationship in a contemporary urban milieu. | [44] |
| 1997 (45th) | തായി സാഹെബ | 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. | [45] |
| 1998 (46th) | സമർ | ഹിന്ദി | • Shyam Benegal • Sahyadri Films • NFDC | Shyam Benegal | For the innovative and human manner in which the director structures and presents a continuing social evil. | [46] |
| 1999 (47th) | വാനപ്രസ്ഥം | Malayalam | Pranavam Arts | 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. | [47] |
| 2000 (48th) | ശാന്തം | 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. | [48] |
| 2001 (49th) | ദ്വീപ | 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. | [49] |
| 2002 (50th) | മോണ്ടോ മേയർ ഉപാഖ്യാൻ | ബംഗാളി | Arya Bhattacharya | Buddhadeb Dasgupta | For its poetic exploration of human and social realities concerning people on the fringes of society. | [50] |
| 2003 (51st) | ശ്വാസ് | 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. | [51] |
| 2004 (52nd) | പേജ് 3 | ഹിന്ദി | 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. | [52] |
| 2005 (53rd) | കാൽപുരുഷ് | ബംഗാളി | Jhamu 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. | [53] |
| 2006 (54th) | പുലിജന്മം | Malayalam | M. G. Vijay | Priyanandanan | For a layered film that uses metaphors to address global and local issues of contemporary society. | [54] |
| 2007 (55th) | കാഞ്ചീവരം | 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 dreams. A vibrant story and technical excellence blend to create a total cinematic experience. | [55] |
| 2008 (56th) | അന്തഹീൻ | ബംഗാളി | Screenplay Films | Aniruddha Roy Chowdhury | For lyrical blend of technical devices in the right proportion to depict shifting human relationships in an urban scenario. | [56] |
| 2009 (57th) | കുട്ടി സ്രാങ്ക് | 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. | [57] |
| 2010 (58th) | ആദാമിന്റെ മകൻ അബു | Malayalam | • Salim Ahamed • 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. | [58] |
| 2011 (59th) | ഡ്യൂൾ | 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. | [59] |
| ബ്യാരി | 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. | ||
| 2012 (60th) | പാൻ സിങ് തോമർ | ഹിന്ദി | UTV Software Communications | Tigmanshu Dhulia | Powerful presentation of a true life story which highlights the urgent need of a social support system for sportspersons especially in rural India. Sleek and sensitive handling of a not- too-common subject with remarkable aplomb. The movie leaves the viewer with a realization of the decadent value system prevalent in the society. Yet there is a beacon of hope! | [60] |
| 2013 (61st) | ഷിപ്പ് ഓഫ് തെസ്യൂസ് | • English • Hindi | Recyclewala Films Pvt. Ltd. | Anand Gandhi | A quietly powerful film of an unusual photographer, an erudite Jain monk and a young stock broker told through different segments which finally unites them through a strange circumstance. In the process the film depicts issues of intuitive brilliance, metaphysical belief and intricate morality in a world full of contradictions. | [61] |
| 2014 (62nd) | കോർട്ട് | • Marathi • Hindi • Gujarati • English | Zoo Entertainment Pvt. Ltd. | Chaitanya Tamhane | Court is a powerful and stark depiction of the mundaneness of judicial procedure revealed brilliantly by the film’s form, forcing us to reflect on the heartwrenching insensitivity of institutional structures. | [62] |
| 2015 (63rd) | ബാഹുബലി ദി ബിഗിനിങ് | തെലുഗു | • Shobu Yarlagadda • Arka Media Works (P) LTD. | S. S. Rajamouli | An imaginative film and monumental by its production values and cinematic brilliance in creating a fantasy world on screen. | [63] |
| 2016 (64th) | കാസവ് | മറാഠി | • Sumitra Bhave • Sunil Sukthankar • Mohan Agashe | • Sumitra Bhave • Sunil Sukthankar | In appreciation of the perfect blending of an environmental behaviour and a personal one in a poignantly beautiful cinematic way. | [64] |
| 2017 (65th) | വില്ലേജ് റോക്ക്സ്റ്റാർസ് | ആസാമീസ് | Rima Das | Rima Das | ||
| 2018 (66th) | ഹെല്ലാരോ | ഗുജറാത്തി | Saarthi Productions LLP | Abhishek Shah | The film is a strong statement on women empowerment against patriarchal Society. | [65] |
അവലംബം
പുറംകണ്ണികൾ
- National Film Awards, India Archived 2009-05-08 at the Wayback Machine. at IMDb
കുറിപ്പുകൾ
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