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Национальная кинопремия за лучший полнометражный фильм
Национальная премия за вклад в индийское кино
Присуждается заЛучший полнометражный фильм года
При финансовой поддержкеДирекция кинофестивалей
Ранее называлсяЗолотая медаль президента за лучший полнометражный фильм
Награда (ы)
  • Сварна Камаль (Золотой лотос)
  • 2,50,000 ₹ / -
Первый награжден1953 г.
Последний награжден2019 г.
Последний победительМараккар: лев Аравийского моря
Особенности
Всего присуждено66
Первый победительШямчи Аай
Веб-сайтhttp://dff.gov.in/ Edit this on Wikidata

Национальная премия за лучший художественный фильм является одной из категорий в национальных Film Awards вручается ежегодно в Дирекции кинофестивалей , организации , созданной Министерством информации и радиовещания в Индии. Это одна из нескольких наград, присуждаемых художественным фильмам и награжденных Золотым лотосом ( Сварна Камаль ). Премия объявляется за фильмы, снятые в течение года по всей стране на всех индийских языках. По состоянию на 2017 год награда включает Swarna Kamal , сертификат и денежный приз в размере 2,50,000 и вручается продюсеру и режиссеру. фильма.

Национальные кинопремии были учреждены в 1954 году для «поощрения производства фильмов высокого эстетического и технического уровня, а также образовательной и культурной ценности», а также планировалось включить награды для региональных фильмов. [1] Награды были учреждены как «Государственные награды за фильмы», но были переименованы в «Национальные кинопремии» на 15-й Национальной кинопремии в 1967 году. [2] По состоянию на 2017 год эта награда является одной из шести премий Сварна Камаль, присуждаемых за художественные фильмы. Отмеченный наградами фильм включен в ежегодный Международный кинофестиваль Индии.. Только фильмы, снятые на любом индийском языке, и немые фильмы, которые сняты на 35 мм, в более широком формате или в цифровом формате, но выпущены в пленочном или видео / цифровом формате и сертифицированы Центральным советом по сертификации фильмов как художественный фильм. или короткометражка имеют право на получение награды. [3]

Вступительная награда была названа «Золотой медалью президента за общеиндийский Лучший художественный фильм» и была награждена маратхи фильм , Shyamchi AAI ( Shyam Мать ), продюсером и режиссер Пралхедом Кешав Атр и основана на Пандеранг Садашив Сан маратхи «s роман с таким же названием . [1] По состоянию на 2016 год было награждено шестьдесят четыре художественных фильма, снятых на двенадцати разных языках: бенгали (двадцать два), хинди (четырнадцать), малаялам (двенадцать), каннада (шесть), маратхи (пять), Ассамский , английский,Гуджарати , санскрит и тамильский (по два), медвежий и телугу (по одному). На 26-й Национальной кинопремии (1978 г.) ни один полнометражный фильм не был удостоен награды за лучший полнометражный фильм, поскольку жюри во главе с режиссером Четаном Анандом тщательно изучило восемьдесят фильмов, но не сочло ни один фильм «достойным заслуг» и «оцененным до стандарт мастерства, установленный жюри ". [4] На 59-й Национальной кинопремии награду разделили два художественных фильма; Фильм на маратхи Deool ( Храм ) и фильм Beary Byari . [5]Совсем недавно награда была вручена малаяламскому фильму « Мараккар: лев Аравийского моря» режиссера Приядаршана .

Сатьяджит Рэй - самый заслуженный режиссер, где шесть его фильмов - « Патер Панчали» (1955), « Апур Сансар» (1959), « Чарулата» (1964), Гупи Гин Багха Байн (1968), Семабаддха (1971) и Агантук (1991) - выиграли за наградой последовали Буддадеб Дасгупта (пять), Гириш Касаравалли и Мринал Сен (по четыре), Шаджи Н. Карун (три), Адоор Гопалакришнан , Тапан Синха , Г.В. Айер и Приядаршан (по два). По состоянию на 2016 годнаграда была вручена фильмам десяти режиссеров-дебютантов; Сатьяджит Рэй ( Патер Панчали , 1955), [6] Адоор Гопалакришнан ( Сваямварам , 1972), [7] М.Т. Васудеван Наир ( Нирмалям , 1973), [8] Гириш Касаравалли ( Гхаташраддха , 1977), [9] Шаджи Н. Карун ( Piravi , 1988), [10] Сандип Савант ( Shwaas , 2003), [11] Салим Ахмед ( Adaminte Макан Abu , 2010), [12] Савиран (Бьяри , 2011), [13] Ананд Ганди ( Корабль Тесея , 2013), [14] Чайтанья Тамхане ( Суд , 2015). [15] Пять фильмов, получивших награду за лучший полнометражный фильм, также были представлены Индией на премию Оскар за лучший фильм на иностранном языке ; Апур Сансар (1959), Шваас (2004), Адаминте Макан Абу (2011), Корт (2015) и Village Rockstars (2018). [16] Ади Шанкарачарья (1983), первый фильм, сделанный на санскрите.language, [17] и Byari (2011), первый фильм, сделанный на медвежьем языке , [13] получил награду на 31-й Национальной кинопремии и 59-й Национальной кинопремии соответственно.

Награды [ править ]

С момента создания в 1953 году продюсер фильма награждается Золотой медалью и сертификатом. [1] Денежный приз в размере 20 000 фунтов стерлингов был введен на 5-й Национальной кинопремии (1957) и был изменен до 40 000 фунтов стерлингов на 18-й Национальной кинопремии (1970) [18] до 50 000 фунтов стерлингов на 28-й Национальной кинопремии (1980 г.). ), [19] до 2 50 000 вон на 54-й Национальной кинопремии (2006). [20] [21]

С 1953 по 1956 год [1] [22] режиссер фильма был награжден Золотой медалью, которая позже была заменена в 1957 году денежной премией в размере 5000 фунтов стерлингов. [20] С 1967 по 1973 год, [2] [23] табличка была также присуждена директору и денежный приз был пересмотрен до ₹ 10000 в 1970 году [18] На 22 Национальной кинематографической премии (1974), [24] Премия для режиссера была изменена на Раджата Камала ( Серебряный лотос ), а денежный приз в размере 15 000 фунтов стерлингов был изменен на 20 000 фунтов стерлингов на 25-й Национальной кинопремии.(1977). [25] После 28-й Национальной кинопремии (1980) [19] режиссер награждается Сварна Камаль и денежной премией в размере 25 000 фунтов стерлингов, которая позже была пересмотрена до 50 000 фунтов стерлингов на 28-й Национальной кинопремии (1980), [19] до 2 50 000 фунтов стерлингов на 54-й Национальной кинопремии (2006). [21]

В 1973 и 1974 годах также были награждены исполнитель главной роли и актриса фильма. Пи Джей Энтони и Сумитра получили сувенир за малаяламский фильм « Нирмалям» на 21-й Национальной кинопремии (1973). [23] Энтони также был удостоен награды за лучшую мужскую роль , в то время известной как «Премия Бхарата за лучшую мужскую роль». Утпал Датт и Гита Сен были награждены медальоном Бенгальского кинохора на 22-й Национальной кинопремии (1974). [24]

Победители [ править ]

Приз за лучший полнометражный фильм получили фильмы на следующих языках:

Обозначает совместную награду за этот год
Список фильмов с указанием года (церемонии награждения), языка (языков), продюсера (ов), режиссера (ов) и ссылки
ГодФильм (ы)Язык (и)Производитель (и)Директор (ы)ЦитатаСсылка
1953 (1-й)Шямчи АайМаратхиПралхад Кешав АтреПралхад Кешав Атре - [1]
1954 (2-й)Мирза ГалибхиндиСохраб МодиСохраб Моди - [26]
1955 (3-й)Патер ПанчалиБенгальскийПравительство Западной БенгалииСатьяджит Рэй - [27]
1956 (4-й)КабуливалаБенгальскийЧаручитраТапан Синха - [22]
1957 (5 место)Do Aankhen Barah HaathхиндиВ. ШантарамВ. Шантарам - [20]
1958 (шестой)Сагар СангамейБенгальскийДистрибьюторы фильмов класса люксДебаки Бозе - [28]
1959 (седьмой)Апур СансарБенгальскийСатьяджит Рэй ПродакшнсСатьяджит Рэй - [29]
1960 (8-е)Анурадхахинди • Ришикеш Мукерджи
 • Л. Б. Тхакур		Ришикеш Мукерджи - [30]
1961 (девятый)Бхагини НиведитаБенгальскийAurora Film CorporationБиджой Бозе - [31]
1962 (10-е)Дада ТакурБенгальскийШьямлал ДжаланСудхир Мукерджи - [32]
1963 (11-е)Шехар Аур СапнахиндиНая СансарХоджа Ахмад Аббас - [33]
1964 (12-е)ЧарулатаБенгальскийRD BansalСатьяджит Рэй - [34]
1965 (13-е)ChemmeenМалаяламБабу Исмаил СеттуРаму Кариат - [35]
1966 (14 место)Тизри КасамхиндиШайлендраБасу Бхаттачарья - [36]
1967 (15-е)Хатей БазарейБенгальскийАсим ДуттаТапан Синха - [2]
1968 (16)Гупи Гайн Бага БайнБенгальский • Непал Дутта
 • Асим Дутта		Сатьяджит Рэй - [37]
1969 (17-е)Бхуван ШомехиндиMrinal Sen ProductionsМринал Сен - [38]
1970 (18-е)СамскараКаннадаПаттабхирама РеддиПаттабхирама Редди - [18]
1971 (19-е)SeemabaddhaБенгальский • Бхарат Шамшер
 • Джанг Бахадур Рана		Сатьяджит Рэй - [39]
1972 (20-е)СваямварамМалаяламАдоор ГопалакришнанАдоор Гопалакришнан - [40]
1973 (21-е)Нирмальям [а]МалаяламМ. Т. Васудеван НаирМ. Т. Васудеван Наир - [23]
1974 (22-е)Припев [b]БенгальскийMrinal Sen ProductionsМринал Сен - [24]
1975 (23-е)Чомана ДудиКаннадаPraja FilmsБ.В. Карант - [41]
1976 (24-е)МригаяхиндиУдай Бхаскар ИнтернэшнлМринал Сен - [42]
1977 (25-е)ГхаташраддхаКаннадаСадананд СуварнаГириш Касаравалли
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[4]
1979(27th)ShodhHindiSitakant MisraBiplab Roy Choudhary – [43]
1980(28th)Akaler ShandhaneyBengaliD. K. FilmsMrinal 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.
[19]
1981(29th)DakhalBengaliWest Bengal Film IndustryGautam 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.
[44]
1982(30th)ChokhBengali • 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.
[45]
1983(31st)Adi ShankaracharyaSanskritNFDCG. V. Iyer
For its dedication, depth and power and the impressive skill with which it captures the Indian philosophical tradition.
[46]
1984(32nd)DamulHindiPrakash Jha ProductionsPrakash Jha – [47]
1985(33rd)ChidambaramMalayalamG. AravindanG. Aravindan
For providing rare cinematic experience while delineating the inner conflicts and suffering of an individual set against the backdrop of the elements.
[48]
1986(34th)Tabarana KatheKannadaGirish KasaravalliGirish 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.
[49]
1987(35th)Halodhia Choraye Baodhan KhaiAssamese • 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.
[50]
1988(36th)PiraviMalayalamFilm FolksShaji N. Karun
For creattive evocation of human pathos with refined cinematic sensitivity.
[51]
1989(37th)Bagh BahadurBengaliBuddhadeb DasguptaBuddhadeb 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.
[52]
1990(38th)MarupakkamTamilNFDCK. 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.
[53]
1991(39th)AgantukBengaliNFDCSatyajit Ray
For its masterly treatment of an unusual subject investing it with humour, suspense and drama accomplishing remarkable insight into human behavior.
[54]
1992(40th)Bhagwat GitaSanskritT. Subbarami ReddyG. V. Iyer
For successfully translating immortal philosophy of the Bhagavad Gita into a cinematic idiom.
[55]
1993(41st)CharacharBengali • 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.
[56]
1994(42nd)Unishe AprilBengaliRituparno GhoshRituparno 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.
[57]
1995(43rd)KathapurushanMalayalamAdoor GopalakrishnanAdoor 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.
[58]
1996(44th)Lal DarjaBengali • Chitrani Lahiri
 • Dulal Roy		Buddhadeb Dasgupta
For its poetic presentation and exploration of complexities of human relationship in a contemporary urban milieu.
[59]
1997(45th)Thaayi SahebaKannadaJayamalaGirish 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.
[60]
1998(46th)SamarHindi • Shyam Benegal
 • Sahyadri Films
 • NFDC		Shyam Benegal
For the innovative and human manner in which the director structures and presents a continuing social evil.
[61]
1999(47th)VanaprasthamMalayalamPranavam ArtsShaji 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.
[62]
2000(48th)ShanthamMalayalamP. V. GangadharanJayaraj
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.
[63]
2001(49th)DweepaKannadaSoundaryaGirish 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.
[64]
2002(50th)Mondo Meyer UpakhyanBengaliArya BhattacharyaBuddhadeb Dasgupta
For its poetic exploration of human and social realities concerning people on the fringes of society.
[65]
2003(51st)ShwaasMarathiArun NalawadeSandeep 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.
[66]
2004(52nd)Page 3HindiBobby PushkarnaMadhur 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.
[67]
2005(53rd)KaalpurushBengaliJhamu SughandBuddhadeb Dasgupta
For a rare lyrical style and a unique cohesion of narrative structure and characters that allow it to flow on different planes.
[68]
2006(54th)PulijanmamMalayalamM. G. VijayPriyanandanan
For a layered film that uses metaphors to address global and local issues of contemporary society.
[21]
2007(55th)KanchivaramTamilPercept Picture CompanyPriyadarshan
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.
[69]
2008(56th)AntaheenBengaliScreenplay FilmsAniruddha Roy Chowdhury
For lyrical blend of technical devices in the right proportion to depict shifting human relationships in an urban scenario.
[70]
2009(57th)Kutty SrankMalayalamReliance Big PicturesShaji 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.
[71]
2010(58th)Adaminte Makan AbuMalayalam • 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.
[72]
2011(59th)DeoolMarathiAbhijeet GholapUmesh 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.
[5]
ByariBearyAltaaf HussainSuveeran
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)Paan Singh TomarHindiUTV Software CommunicationsTigmanshu 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!
[73]
2013(61st)Ship of Theseus • 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.
[74]
2014(62nd)Court • 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.
[75]
2015(63rd)Baahubali: The BeginningTelugu • 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.
[76]
2016(64th)KaasavMarathi • 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.
[77]
2017(65th)Village RockstarsAssameseRima DasRima Das
2018(66th)HellaroGujaratiSaarthi Productions LLPAbhishek Shah
The film is a strong statement on women empowerment against patriarchal Society.
[78]
2019(67th)Marakkar: Lion of the Arabian SeaMalayalamAntony PerumbavoorPriyadarshan[79]

Explanatory notes[edit]

  1. ^ P. J. Antony (Leading Actor) and Sumithra (Leading Actress) were awarded with Medallion.
  2. ^ Utpal Dutt (Leading Actor) and Gita Sen (Leading Actress) were awarded with Medallion.

References[edit]

  1. ^ a b c d e "1st National Film Awards" (PDF). Directorate of Film Festivals. p. 12. Archived (PDF) from the original on 4 October 2011. Retrieved 21 August 2011.
  2. ^ a b c "15th National Film Awards" (PDF). Directorate of Film Festivals. p. 2,9. Archived (PDF) from the original on 25 February 2012. Retrieved 21 September 2011.
  3. ^ "Call for entries; 64th National Film Awards for 2016" (PDF). Directorate of Film Festivals. p. 6, 13. Archived from the original (PDF) on 15 February 2017. Retrieved 11 May 2017.
  4. ^ a b "26th National Film Awards" (PDF). Directorate of Film Festivals. Archived (PDF) from the original on 24 April 2012. Retrieved 4 October 2011.
  5. ^ a b "59th National Film Awards for the Year 2011 Announced". Press Information Bureau (PIB), India. Archived from the original on 31 October 2014. Retrieved 7 March 2012.
  6. ^ Hoffman, Jordan (5 May 2015). "Back on the little road: Satyajit Ray's Pather Panchali returns in all its glory". The Guardian. Archived from the original on 9 August 2015. Retrieved 13 May 2017.
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External links[edit]

  • Official Page for Directorate of Film Festivals, India
  • National Film Awards Archives