National_Film_Award_for_Best_Feature_Film_in_Malayalam
The National Film Award for Best Feature Film in Malayalam is one of the National Film Awards presented annually by the Directorate of Film Festivals, the organisation set up by Ministry of Information and Broadcasting, India. It is one of several awards presented for feature films and awarded with Rajat Kamal (Silver Lotus).
Quick Facts Awarded for, Sponsored by ...
| National Film Award for Best Feature Film in Malayalam | |
|---|---|
| National award for contributions to Indian Cinema | |
| Awarded for | Best Malayalam Feature Film(s) of the year |
| Sponsored by | Directorate of Film Festivals |
| Formerly called | President's Silver Medal for Best Feature Film in Malayalam (1954–68) |
| Reward(s) |
|
| First awarded | 1954 |
| Last awarded | 2020 |
| Most recent winner | #Home |
| Highlights | |
| Total awarded | 75 |
| First winner | Neelakuyil |
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The National Film Awards, established in 1954, are the most prominent film awards in India that merit the best of the Indian cinema. The ceremony also presents awards for films in various regional languages.
Awards for films in seven regional language (Bengali, Hindi, Kannada, Malayalam, Marathi, Tamil and Telugu) started from 2nd National Film Awards which were presented on 21 December 1955.[1] Three awards of "President's Silver Medal for Best Feature Film", "Certificate of Merit for the Second Best Feature Film" and "Certificate of Merit for the Third Best Feature Film" were instituted. The later two certificate awards were discontinued from 15th National Film Awards (1967).
The first winner of the "President's Silver Medal for Best Feature Film in Malayalam" was the 1954 film Neelakuyil. Jointly directed by P. Bhaskaran and Ramu Kariat, the film was based on a story written by Malayalam writer Uroob. It told the story of a love affair between a Dalit girl and an educated, high caste school teacher. The film is considered landmark in Malayalam cinema history.[2] Along with Neelakuyil, S. S. Rajan directed film Sneha Seema was honoured with a Certificate of Merit. Following is the list of Silver Lotus Award (Rajat Kamal) recipient films produced in Malayalam language.
Award includes 'Rajat Kamal' (Silver Lotus Award) and cash prize. Following are the award winners over the years:
More information Awards legends ...
| Awards legends | |
|---|---|
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President's Silver Medal for Best Feature Film |
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Certificate of Merit for the Second Best Feature Film |
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Certificate of Merit for the Third Best Feature Film |
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Certificate of Merit for the Best Feature Film |
* |
Indicates a joint award for that year |
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More information List of award films, showing the year (award ceremony), producer(s), director(s) and citation, Year ...
| List of award films, showing the year (award ceremony), producer(s), director(s) and citation | |||||
|---|---|---|---|---|---|
| Year | Film(s) | Producer(s) | Director(s) | Citation | Refs. |
| 1954 (2nd) |
Neelakuyil | Chandrathara Productions | • P. Bhaskaran • Ramu Kariat |
– | [1] |
| Snehaseema | Associate Pictures | S. S. Rajan | – | ||
| 1955 (3rd) |
No Award | [3] | |||
| 1956 (4th) |
No Award | [4] | |||
| 1957 (5th) |
Padatha Painkili | Neela Productions | P. Subramaniam | – | [5] |
| 1958 (6th) |
Nairu Pidicha Pulivalu | T. E. Vasudevan | P. Bhaskaran | – | [6] |
| Randidangazhi | Neela Productions | P. Subramaniam | – | ||
| 1959 (7th) |
Chathurangam | Capt. (Dr.) G. T. Joshua | • J. D. Thottan • D. V. Swamy |
– | [7] |
| 1960 (8th) |
No Award | [8] | |||
| 1961 (9th) |
Mudiyanaya Puthran | Chandrathara Productions | Ramu Kariat | – | [9] |
| Kandam Becha Kottu | Modern Theatres | T. R. Sundaram | – | ||
| Sabarimala Ayyappan | K. Kuppuswamy | S. M. Sriramulu Naidu | – | ||
| 1962 (10th) |
Puthiya Akasam Puthiya Bhoomi | Associated Producers | M. S. Mani | – | [10] |
| Kalpadukal | T. R. Raghavan | K. S. Anthony | – | ||
| 1963 (11th) |
Ninamaninja Kalpadukal | • K. V. Bhavadas • N. K. Karunakara Pillai • K. Parameshwaran Nair |
N. N. Pisharody | – | [11] |
| Doctor | H. H. Ebrahim | M. S. Mani | – | ||
| Kalayum Kaminiyum | Neela Productions | P. Subramaniam | – | ||
| 1964 (12th) |
Aadyakiranangal | • P. Bhaskaran • V. Abdullah |
P. Bhaskaran | – | [12] |
| Kudumbini | • P. A. Thomas • J. Sasikumar |
• P. A. Thomas • J. Sasikumar |
– | ||
| Thacholi Othenan | T. K. Pareekutty | S. S. Rajan | – | [13] | |
| 1965 (13th) |
Kavyamela | T. E. Vasudevan | M. Krishnan Nair | – | [14] |
| Odayil Ninnu | P. Ramaswamy | K.S.Sethumadhavan | – | ||
| Murappennu | K. Parameswaran Nair | A. Vincent | – | ||
| 1966 (14th) |
Kunjali Marikkar | T. K. Pareekutty | S. S. Rajan | – | |
| 1967 (15th) |
Anveshichu Kandethiyilla | K. Ravindran Nair | P. Bhaskaran | – | [15] |
| 1968 (16th) |
Adhyapika | Neela Productions | P. Subramaniam | – | [16] |
| 1969 (17th) |
Adimakal | M. O. Joseph | K. S. Sethumadhavan | – | [17] |
| 1970 (18th) |
Ezhuthatha Kadha | Jai Maruthy Pictures | A. B. Raj | – | [18] |
| 1971 (19th) |
Karakanakadal | Hari Pothan | K. S. Sethumadhavan | – | |
| 1972 (20th) |
Panitheeratha Veedu | K. S. R. Moorthy | K. S. Sethumadhavan | – | [19] |
| 1973 (21st) |
Gayathri | • A. R. Shreedharan Elayidom • P. B. Ashram |
P. N. Menon | – | [20] |
| 1974 (22nd) |
Uttarayanam | Pattathuvila Karunakaran | G. Aravindan | – | [21] |
| 1975 (23rd) |
Swapnadanam | T. Mohamed Bapu | K. G. George | – | [22] |
| 1976 (24th) |
Manimuzhakkam | Cartoonist Thomas | P. A. Backer | – | |
| 1977 (25th) |
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. |
[23] |
| 1978 (26th) |
Thampu | K. Ravindran Nair | G. Aravindan |
For its cinematic virtousity and defiance of all narrative traditions of film making. |
[24] |
| 1979 (27th) |
Peruvazhiyambalam | Prem Prakash | Padmarajan | – | |
| 1980 (28th) |
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. |
[25] |
| 1981 (29th) |
Elippathayam | K. Ravindran 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. |
[26] |
| 1982 (30th) |
Chappa | P. K. Abdul Latif | P. A. Backer |
For its powerful depiction of a lone individual's determined fight against tyranny. |
[27] |
| 1983 (31st) |
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. |
[28] |
| 1984 (32nd) |
Mukhamukham | K. Ravindran Nair | Adoor Gopalakrishnan | – | [29] |
| 1985 (33rd) |
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. |
[30] |
| 1986 (34th) |
Uppu | K. M. A. Rahim | V. K. Pavithran |
For its depiction of people caught in the midst of religious conservatism. |
[31] |
| 1987 (35th) |
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. |
[32] |
| 1988 (36th) |
Rugmini | • S. C. Pillai • Gigy Abraham |
K. P. Kumaran |
For compassionate depiction of the human condition permeating the dark realities of a social evil. |
[33] |
| 1989 (37th) |
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. |
[34] |
| 1990 (38th) |
Vasthuhara | T. Ravindranath | G. Aravindan |
For being a human document, depicting the cruelties meted out by society to the dispossessed. |
[35] |
| 1991 (39th) |
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. |
[36] |
| 1992 (40th) |
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. |
[37] |
| 1993 (41st) |
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. |
[38] |
| 1994 (42nd) |
Sukrutham | M. M. Ramachandran | Harikumar |
Against the backdrop of impending death, complex marital and social relationships are explored. |
[39] |
| 1995 (43rd) |
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. |
[40] |
| 1996 (44th) |
Desadanam | Jayaraj | Jayaraj |
For depicting in an excellent manner the conflicts between love, traditional bonds and duties, arising out of religious beliefs. |
[41] |
| 1997 (45th) |
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. |
[42] |
| 1998 (46th) |
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. |
[43] |
| 1999 (47th) |
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. |
[44] |
| 2000 (48th) |
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. |
[45] |
| 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 (49th) |
Dany | T. V. Chandran | T. V. Chandran |
For documenting the 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. |
[46] |
| 2002 (50th) |
Nizhalkuthu | Adoor Gopalakrishnan | Adoor Gopalakrishnan |
For its exploration of the mind of a hangman. |
[47] |
| 2003 (51st) |
Saphalam | Anil Thomas | Asok R. Nath |
For its sensitive portrayal of an old couple in their loneliness and togetherness. |
[48] |
| 2004 (52nd) |
Akale | Tom George Kolath | Shyamaprasad |
For its sensitive handling of characters trapped in tragic situation, in an unconventional filmic way. |
[49] |
| 2005 (53rd) |
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. |
[50] |
| 2006 (54th) |
Drishtantham | M. P. Sukumaran Nair | M. P. Sukumaran Nair |
For a powerful tribute to the co modification of ancient tradition. |
[51] |
| 2007 (55th) |
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. |
[52] |
| 2008 (56th) |
Thirakkatha | Varnachithra Big Screen | Ranjith |
For its poignant story of an actress told with sincerity and conviction. |
[53] |
| 2009 (57th) |
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. |
[54] |
| 2010 (58th) |
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. |
[55] |
| 2011 (59th) |
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. |
[56] |
| 2012 (60th) |
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. |
[57] |
| 2013 (61st) |
North 24 Kaatham | C. V. Sarathi | Anil Radhakrishnan Menon |
A train journey that transforms an eccentric character by taking him through trying situations and making him more compassionate. |
[58] |
| 2014 (62nd) |
Ain | 1:1.3 Entertainments | Sidhartha Siva |
For its gently nuanced narrative in which a carefree young man embraces responsibility and compassion for the lives of others. |
[59] |
| 2015 (63rd) |
Pathemari | Allens Media | Salim Ahamed |
For an artistically narrated saga of two generations of Malayali workers who migrated to the Persian Gulf region for livelihood, told through the poignant story of one man. |
[60] |
| 2016 (64th) |
Maheshinte Prathikaaram | Dream Mill Cinemas and Entertainment Pvt. Ltd. | Dileesh Pothan |
A roller coaster ride with tailor made characters. |
[61] |
| 2017 (65th) |
Thondimuthalum Driksakshiyum | Urvasi Theatres | Dileesh Pothan | – | |
| 2018 (66th) |
Sudani from Nigeria | Happy Hours Entertainments | Zakariya Mohammed |
With a backdrop of sports, the film explores the complexity of emotions in a mother-son relationship. |
|
| 2019 (67th) |
Kalla Nottam | First Print Studio | Rahul Riji Nair |
Experimental portrayal of the realities of life where the exploitation of woman and blackmail is captured in a single lens. |
[62] |
| 2020 (68th) |
Thinkalazhcha Nishchayam | Pushkar Films | Senna Hegde |
A series of events happening in a marriage house shown in an interesting way as the bride has different plans. |
[63] |
| 2021 (69th) |
Home | Vijay Babu | Rojin Thomas | - | [64] |
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- "2nd National Film Awards" (PDF). Retrieved 23 August 2011.
- B. Vijayakumar (1 November 2008). "Neelakuyil 1954". The Hindu. Archived from the original on 29 June 2011. Retrieved 28 December 2010.
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- Keshri, Shweta (22 July 2022). "68th National Film Awards Full Winners List: Suriya, Ajay Devgn jointly win Best Actor". India Today. Retrieved 23 July 2022.
- "69th National Film Awards:Rocketry, Alia Bhatt, Kriti Sanon, Allu Arjun win big. See complete list of winners here". Indian Express. 24 August 2023.