Wikipedia
National Film Award for Best Feature Film in Tamil
The Indian Film Award for Best Feature Film in Tamil 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).
| Indian Film Award for Best Feature Film in Tamil | |
|---|---|
| Indian award for contributions to Indian Cinema | |
| Awarded for | Best Tamil Feature Film(s) of the year |
| Sponsored by | Directorate of Film Festivals |
| Formerly called | President's Silver Medal for Best Feature Film in Tamil (1954–1968) |
| Reward(s) |
|
| First awarded | 1955 |
| Last awarded | 2020 |
| Most recent winner | Sivaranjiniyum Innum Sila Pengalum |
| Highlights | |
| Total awarded | 79 |
| First winner | Malaikkallan |
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. 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 1954 film, directed by S. M. Sriramulu Naidu, Malaikkallan was honoured with the first president's silver medal for Best Feature Film in Tamil. Certificate of Merit for Second and Third Best Feature Films in Tamil were received by Andha Naal and Edhir Paradhathu respectively.
Winners
Award includes 'Rajat Kamal' (Silver Lotus Award) and cash prize. Following are the award winners over the years:
| Awards legends | |
|---|---|
* | President's Silver Medal for Best Feature Film |
* | Certificate of Merit for the Second Best Feature Film |
* | Certificate of Merit for the Third Best Feature Film |
* | Certificate of Merit for the Best Feature Film |
| 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) | Malaikkallan | Pakshiraja Studios | S. M. Sriramulu Naidu | – | [1] |
| Andha Naal | AVM Productions | S. Balachander | – | ||
| Edhir Paradhathu | • Saravanabhava • Unity Pictures | Ch. Narayanamoorthy | – | ||
| 1955 (3rd) | Mangaiyar Thilakam | Vaidya Films | L. V. Prasad | – | [2] |
| 1956 (4th) | Kuladeivam | S. K. Pictures | Krishnan–Panju | – | [3] |
| 1957 (5th) | Mudhalali | M. A. V. Pictures | Muktha V. Srinivasan | – | [4] |
| 1958 (6th) | Thanga Padhumai | Jupitor Pictures Pvt Ltd. | A. S. A. Samy | – | [5] |
| Annaiyin Aanai | A. M. M. Ismayil | Ch. Narayanamoorthy | – | ||
| 1959 (7th) | Bhaaga Pirivinai | G. N. Velumani | A. Bhimsingh | – | [6] |
| Veerapandiya Kattabomman | B. R. Panthulu | B. R. Panthulu | – | ||
| Kalyana Parisu | • Sarvashri S. Krishnamurthy • T. Govindarajan • C. V. Sridhar | C. V. Sridhar | – | ||
| 1960 (8th) | Parthiban Kanavu | Jubilee Films Pvt Ltd. | D. Yoganand | – | [7] |
| Paadhai Theriyudhu Paar | Kumari Films Pvt Ltd. | Nemai Ghosh | – | ||
| Kalathur Kannamma | AVM Productions | A. Bhimsingh | – | ||
| 1961 (9th) | Kappalottiya Thamizhan | Padmini Pictures | B. R. Panthulu | – | [8] |
| Pasamalar | Rajamani Pictures | A. Bhimsingh | – | ||
| Kumudham | Modern Theatres | Adurthi Subba Rao | – | ||
| 1962 (10th) | Nenjil Oor Alayam | Chithralaya | C. V. Sridhar | – | [9] |
| Annai | AVM Productions | Krishnan–Panju | – | ||
| Sarada | Al. Srinivasan | K. S. Gopalakrishnan | – | ||
| 1963 (11th) | Naanum Oru Penn | Murugan Brothers | A. C. Tirulokchandar | – | [10] |
| Karpagam | K. S. Sabarinathan | K. S. Gopalakrishnan | – | ||
| Karnan | B. R. Panthulu | B. R. Panthulu | – | ||
| 1964 (12th) | Kai Koduttha Dheivam | M. S. Velappan | K. S. Gopalakrishnan | – | |
| Pazhani | A. P. Chinnappa | A. Bhimsingh | – | ||
| Server Sundaram | AVM Productions | Krishnan–Panju | – | ||
| 1965 (13th) | Kuzhandaiyum Deivamum | AVM Productions | Krishnan–Panju | – | [11] |
| Thiruvilayadal | Shri Vijayalakshmi Pictures | A. P. Nagarajan | – | ||
| 1966 (14th) | Ramu | AVM Productions | A. C. Tirulokchandar | – | |
| 1967 (15th) | Aalayam | M/s. Sunbeam | • Thirumalai • Mahalingam | – | [12] |
| 1968 (16th) | Thillana Mohanambal | Shri Vijayalakshmi Pictures | A. P. Nagarajan | – | [13] |
| 1969 (17th) | Iru Kodugal | • N. Selvaraj • B. Doraisamy • N. Krishan • V. Govindarajan | K. Balachander | – | [14] |
| 1970 (18th) | Raman Ethanai Ramanadi | P. Madhavan | P. Madhavan | – | [15] |
| 1971 (19th) | Veguli Penn | Abdul Kabar | S. S. Devadass | – | |
| 1972 (20th) | Pattikada Pattanama | P. Madhavan | P. Madhavan | – | [16] |
| 1973 (21st) | Dikkatra Parvathi | • M. Lakshmikantha Reddy • H. M. Sanjeeva Reddy | Singeetham Srinivasa Rao | – | [17] |
| 1974 (22nd) | No Award | [18] | |||
| 1975 (23rd) | Apoorva Raagangal | • P. R. Govindarajan • J. Duraisamy | K. Balachander | – | [19] |
| 1976 (24th) | No Award | ||||
| 1977 (25th) | Agraharathil Kazhuthai | – | John Abraham | For bold experimentation in a conservative milieu; for poetic intensity on a variety of levels; for creating a parable set against the orthodoxies and superstitions of a Brahmin village community; for its sympathy with the dumb world of animals and the equally dumb world of handicapped human beings; for the memorable impression it leaves on the minds of the viewers through the striking visual use of the verses of Subramanya Bharati, the first Tamil modernist. | [20] |
| 1978 (26th) | No Award | [21] | |||
| 1979 (27th) | Pasi | G. Lalitha | Durai | – | [22] |
| 1980 (28th) | Nenjathai Killathe | K. Rajgopal Chetty | Mahendran | For artistically portraying the gradual development of a girl from adolescence to womanhood, for depicting in a gentle moving narrative her emotional suffering and how she overcomes them. | [23] |
| 1981 (29th) | Thaneer Thaneer | • P. R. Govindarajan • J. Duraisamy | K. Balachander | For powerfully projecting the helplessness of a village community living in a drought-affected area and its valiant efforts to solve its problem through self-help being thwarted by an insensitive administrative system. | [24] |
| 1982 (30th) | Ezhavathu Manithan | Palai N. Shanmugam | K. Hariharan | For focusing attention on the important topical problems of pollution and industrial exploitation. | [25] |
| 1983 (31st) | Oru Indhiya Kanavu | • T. P. Varadarajan • Vijayalakshmi Desikan | Komal Swaminathan | For its honesty of purpose to articulate the cause of tribal welfare. | [26] |
| 1984 (32nd) | Achamillai Achamillai | • Rajam Balachander • V. Natarajan | K. Balachander | – | [27] |
| 1985 (33rd) | Muthal Mariyathai | Bharathiraja | Bharathiraja | For a love story about the suffering of a man who is destined to live with his memories, spending his last days in a hut on the banks of river in idyllic surroundings. | [28] |
| 1986 (34th) | Mouna Ragam | G. Venkateswaran | Mani Ratnam | For its sensitive portrayal of an urban young woman's voyage to self-discovery. | [29] |
| 1987 (35th) | Veedu | Kaladas | Balu Mahendra | For a deeply compassionate portrayal of a middle class working woman with an old grandfather and sister as her dependents, attempting to retain the integrity of her family in the present day urban milieu. | [30] |
| 1988 (36th) | No Award | [31] | |||
| 1989 (37th) | Pudhea Paadhai | A. Sundaram | R. Parthiban | For its depiction of the transforming effects of a woman's courage and devotion on her husband. | [32] |
| 1990 (38th) | Anjali | M/S Sujatha Productions (P) Ltd | Mani Ratnam | For the unusual usage of film form, utilising music, choreography and sound with depth, achieving the highest aesthetic excellence to narrate the emotional nearness of the mentally retarted. | [33] |
| 1991 (39th) | Vanna Vanna Pookkal | Kalaipuli S. Dhanu | Balu Mahendra | For the truthful and effective portrayal of juvenile romance ending in unexpected tragedy. | [34] |
| 1992 (40th) | Thevar Magan | Kamal Haasan | Bharathan | For its dynamic depiction of an educated youth who returns to his roots to fight injustice and in the process is forced to unleash the animal within him. | [35] |
| 1993 (41st) | Mahanadi | S. A. Rajakannu | Santhana Bharathi | For depicting the aspiration and frustrations of the protagonist, his separation from reunion with his children, spanning a vast canvas of various cinema skills put together into an epic saga of a struggle against justice. | [36] |
| 1994 (42nd) | Nammavar | B. Venkatarama Reddy | K. S. Sethumadhavan | For professionally assembled tale of a college professor who encounters student violence, marked by several impressive performances. | [37] |
| 1995 (43rd) | Anthimanthaarai | Tilaka Ganesh (Mega Movie Makers) | Bharathiraja | For a most heart breaking portrayal of the unrecognised and lonely life of people who fought for the freedom of this country. | [38] |
| 1996 (44th) | Kadhal Kottai | Sivashakthi Pandian | Agaththian | For a charming love story with unusual twists and turns of fate told in an interesting manner with good production values. | [39] |
| 1997 (45th) | The Terrorist | A. Sriram | Santosh Sivan | For the film's stylised, evocative presentation of a theme that introspectively and in a silent, subtle manner says a loud "NO" to violence. | [40] |
| 1998 (46th) | Housefull | R. Parthiban | R. Parthiban | For telling the story of a theatre manager and his passionate bonding with his audience. A bomb is discovered in the theatre bharat talkies during show time but removed in the nick of time saving the lives of those in the audience. In denouncing violence, the film makes a strong statement against terrorism. | [41] |
| 1999 (47th) | Sethu | A. Kandasamy | Bala | For an impressive debut by a director with a commendable grasp of the grammar of mainstream cinema. It deserves special mention for combining popular elements with the unconventional. | [42] |
| 2000 (48th) | Bharati | Messers Media Dreams (P) Ltd | Gnana Rajasekaran | For depicting the life and times of Subramaniya Bharati in a very authentic manner, unfolding the history of our freedom struggle. The compositions of this great visionary poet stand out with great relevance today. | [43] |
| 2001 (49th) | Ooruku Nooruper | L. Suresh | B. Lenin | For depicting a thought provoking story about crime, based on ideology. It reflects upon life, death and justice. | [44] |
| 2002 (50th) | Kannathil Muthamittal | • Mani Ratnam • G. Srinivasan | Mani Ratnam | For its superb craftsmanship and commitment to a contemporary tragedy. | [45] |
| 2003 (51st) | Iyarkai | V. R. Kumar | S. P. Jananathan | For a rich visual portrayal of a love story set against a unique canvas. | [46] |
| 2004 (52nd) | Navarasa | Sunil Doshi | Santosh Sivan | For its credible exploitation of the world of the third gender blended with director’s own cinematic style. | [47] |
| 2005 (53rd) | Aadum Koothu | Light and Shadow Movie Makers | T. V. Chandran | For its imaginative portrayal of a young girl who travels between past and present time zones. | [48] |
| 2006 (54th) | Veyil | S. Shankar | Vasanthabalan | For a moving portrayal of sibling bonding in a turbulent family. | [49] |
| 2007 (55th) | Periyar | M/s Liberty Creations Ltd. | Gnana Rajasekaran | A biographical feature which takes on issues like superstition, untouchability, widow remarriage etc by forcefully depicting the life of the great social reformer Shri E.V. Ramaswamy Naicker popularly known as Periyar. | [50] |
| 2008 (56th) | Vaaranam Aayiram | Venu Ravichandran | Gautham Vasudev Menon | For its engaging depiction of a father and son relationship. | [51] |
| 2009 (57th) | Pasanga | M. Sasikumar | Pandiraj | For the unconventional, imaginative and energetic joyride of children that is delightful and uplifting. | [52] |
| 2010 (58th) | Thenmerku Paruvakaatru | Shibu Issac | Seenu Ramasamy | For an emotive articulation of the combative spirit of a mother for whom her son’s happiness is paramount. | [53] |
| 2011 (59th) | Vaagai Sooda Vaa | • S. Muruganandham • N. Puranna | A. Sarkunam | For its inventive mix of folklore, politics and rural deprivation. Instead of mimicking the grim realities of an illiterate, poor and barren village, the director paints the hopeful desires of brick-kiln workers and their children who want to come out of their desolation to redeem themselves. The story is set in 1968 when Tamil Nadu undertook a series of social reforms. | [54] |
| 2012 (60th) | Vazhakku Enn 18/9 | N. Subhash Chandra Bose | Balaji Sakthivel | A love story unfolding to a horrific tragedy and the ugly face of an unforgiving system come through strongly in this well-narrated film. | [55] |
| 2013 (61st) | Thanga Meengal | JSK Film Corporation | Ram | An emotional tale of a man who separates from his wife and beloved eight-year-old daughter to look for a job in a distant city. The consequences that follow, finally lead to an emotional and heart-warming reunion. | [56] |
| 2014 (62nd) | Kuttram Kadithal | • Chris Pictures • JSK Film Corporation | G. Bramma | For the pervasive empathy with which it examines the guilt and the anger that follows upon a school teacher’s impulsive slapping of a student. | [57] |
| 2015 (63rd) | Visaranai | Wunderbar Films | Vetrimaaran | A gripping drama about the atrocities thrust on by the police on innocent citizens, based on a true story. | [58] |
| 2016 (64th) | Joker | Dream Warrior Pictures | Raju Murugan | A Political satire film which criticises the present political absurdities . | [59] |
| 2017 (65th) | To Let | Prema Chezhian | Chezhiyan | [60] | |
| 2018 (66th) | Baaram | • Priya Krishnaswamy • Ardra Swaroop | Priya Krishnaswamy | A man’s fight to expose the traditional practice of euthanasia in a Tamil village. | [61] |
| 2019 (67th) | Asuran | Kalaipuli S. Thanu | Vetrimaaran | Beautiful narration of a remote village life, their rivalries, consequences and finally conveying the message that only education can encounter the treachery and social malice. | [62] |
| 2020 (68th) | Sivaranjiniyum Innum Sila Pengalum | Hamsa Productions | Vasanth | A tale of three young women in modern day India who strive to assert their individuality. | [63] |
References
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External links
- Official Page for Directorate of Film Festivals, India
- National Film Awards Archives