National Film Award for Best Editing

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National Film Award for Best Editing
Type National
Category Indian Cinema
Description Best film editing for the feature film for a year
Instituted 1976
First awarded 1976
Last awarded 2013
Total awarded 38
Awarded by Directorate of Film Festivals
Cash award ₹50,000 (US$740)
Medal Rajat Kamal (Silver Lotus)
First awardee(s) K. Babu Rao
Recent awardee(s) Vivek Harshan

The National Film Award for Best Editing 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).

The award was instituted in 1976, at 24th National Film Awards and awarded annually for films produced in the year across the country, in all Indian languages.

Winners

Award includes 'Rajat Kamal' (Silver Lotus) and cash prize. Following are the award winners over the years:

List of award recipients, showing the year (award ceremony), film(s), language(s) and citation
Year Recipient(s) Film(s) Language(s) Citation
1976
(24th)		 K. Babu Rao[1] Siri Siri Muvva Telugu  –
1977
(25th)		  • Waman Bhonsle
 • Gurudutt Shirali[2]		 Inkaar Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For thrilling sequences which are evidence of extraordinary editorial virtuosity, establishing pace and tempo, brilliantly orchestrated in relation to the swift, suspenseful action; for cutting and montage of such dexterous facility as to conceal the skill which enables the dramatic power to explode across the screen from time to time with stunning impact.
1978
(26th)		 Gangadhar Naskar[3] Parasuram Bengali <templatestyles src="Template:Hidden begin/styles.css"/>
For his bravura style of editing which is in complete harmony with the highly stylised treatment of the theme by the director.
1979
(27th)		 Gangadhar Naskar[4] Ek Din Pratidin Bengali  –
1980
(28th)		 Gangadhar Naskar[5] Akaler Shandhaney Bengali <templatestyles src="Template:Hidden begin/styles.css"/>
For a sensitive use of images, for gradually building up the tempo of the film in a well-knit pattern; for never permitting a slackening of pace and for underlining the whole film with a subdued sense of drama.
1981
(29th)		 Bhanudas Divakar[6] Arohan Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For precision in timing, for excellent juxtaposition of images, for sustained tempo and rhythm and a masterful creation of the deluge sequence.
1982
(30th)		 Keshav Hirani[7] Arth Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For sustaining the inherent tension in the plot by precise timing and artistic juxtaposition of images and sounds.
1983
(31st)		 Mrinmoy Chakraborty[8] Khandhar Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For his work which gives the film its structure, rhythm and brooding quality.
1984
(32nd)		 Anil Malnad[9] Sitaara Telugu  –
1985
(33rd)		 Babu Sheikh[10] Hum Naujawan Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For his work in the film which, due to his slick editing becomes more effective.
1986
(34th)		 Sanjiv Shah[11] Mirch Masala Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For his perfection in creating a smooth flow.
1987
(35th)		 P. Mohanraj[12] Vedham Pudhithu Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For being able to find an original editing vocabulary appropriate to the story in order to create a perfect blend of narrational and motivating elements.
1988
(36th)		 A. Sreekar Prasad[13] Raakh Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For his precise use of time and juxtaposition in bringing out creatively the internal turmoil of a modern youth.
1989
(37th)		 Renu Saluja[14] Parinda Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For her brisk and precise cutting and the creative heights to which she has taken the film with her intelligent and intuitive knowledge of her art.
1990
(38th)		 M. S. Mani[15] Iyer the Great Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For slick well-placed editing which elevates the craft of the film.
1991
(39th)		 Renu Saluja[16] Dharavi Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For achieving right timing and rhythm, with the dexterous juxtaposition of sound and visuals.
1992
(40th)		 M. S. Mani[17] Sargam Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For imparting a natural rhythm to Sargam completely in time with its musical format.
1993
(41st)		 Renu Saluja[18] Sardar Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For combining expertise with artistry in a diverse and disparate series of sequences into a memorable experience of epic cinema.
1994
(42nd)		  • B. Lenin
 • V. T. Vijayan[19]		 Kadhalan Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For the sheer magic of an editing idiom, cut to perfect timing event at a breath taking pace, in sequences that often make the implausible a plausibility.
1995
(43rd)		 Suresh Urs[20] Bombay Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For its impeccable craftsmanship in bringing about the pace, rhythm and flow in narrating the story.
1996
(44th)		 A. Sreekar Prasad[21] Rag Birag Assamese <templatestyles src="Template:Hidden begin/styles.css"/>
For slickly editing with imagination, setting the pace and flow of the story.
1997
(45th)		 A. Sreekar Prasad[22] The Terrorist Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For his sleek, officient and sharp editing which gives the film an absorbing pace, making it gripping and thought provoking.
1998
(46th)		 Renu Saluja[23] Godmother Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For her smart slick and innovative editing adds an artistic touch to the film. her pacing of the cuts enhance the emotions and sound overlaps lend a remarkable lucidity to the narration.
1999
(47th)		 A. Sreekar Prasad[24] Vanaprastham Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For maintaining the required unity of form and content by putting images and sound tracks in perfect harmony and rhythm for this film.
2000
(48th)		  • Suresh Pai
 • Apurva Asrani[25]		 Snip! English <templatestyles src="Template:Hidden begin/styles.css"/>
For creating an evocative rhythm in the film enhancing the pace of the narrative while aesthetically maintaining the unit of form and content.
2001
(49th)		 Beena Paul[26] Mitr, My Friend English <templatestyles src="Template:Hidden begin/styles.css"/>
For her crisp and taut cutting, makes her bag this award. The excellence is on view in frames offering imaginative touch.
2002
(50th)		 A. Sreekar Prasad[27] Kannathil Muthamittal Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For heightening the dramatic conflicts of the story.
2003
(51st)		 Aarif Sheikh[28] Samay: When Time Strikes Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For its crisp cutting that successfully sustains the tempo of the film's suspense.
2004
(52nd)		 Suresh Pai[29] Page 3 Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For the crisp cutting which gives a finesse to the film and the successfully sustains the tempo of the film and mood and emotion while never losing the narrative.
2005
(53rd)		 P. S. Bharati[30] Rang De Basanti Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For creating a commendable pace and multi-layered visual design that heightens the impact of the film.
2006
(54th)		 Raja Mohammad[31] Paruthiveeran Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For innovative editing that enhanced the director's vision to fashion a powerful film.
2007
(55th)		 B. Ajith Kumar[32] Naalu Pennungal Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For presenting at a uniform pace four different stories which unfold as a single entity.
2008
(56th)		 A. Sreekar Prasad[33] Firaaq Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For aesthetically weaving together unrelated sequences to heighten the dramatic impact.
2009
(57th)		 Arghyakamal Mitra[34] Abohoman Bengali <templatestyles src="Template:Hidden begin/styles.css"/>
For a very precise juxtaposition of time and space, allowing every frame to unravel the story with a keen sense of rhythm and pace.
2010
(58th)		 Kishore Te.[35] Aadukalam Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For the subliminal impact created by the use of montage so as to bring to the fore thematic concerns of the narrative in a holistic manner.
2011
(59th)		  • Praveen K. L.
 • N. B. Srikanth[36]		 Aaranya Kaandam Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For recreating a unique yet dystopic mindscape of the world of ordinary gangsters in Chennai. In the editing of the film, they both play a key role in probing their psychological motives through the skilful intercutting of the real world of the characters with the perceived realities of the dark and deprived urban spaces that they inhabit.
2012
(60th)		 Namrata Rao [37] Kahaani Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
Imaginative editing has embellished the rhythm and flow of this highly watchable thriller.
2013
(61st)		 V. J. Sabu Joseph[38] Vallinam Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
An excellent pace set in this sport based film by the editor. The match sequences have been masterly cut.
2014
(62nd)		 Vivek Harshan[39] Jigarthanda Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For structuring the different narratives of raw cruelty and urban cunning that eventually intermingle with positive and humourous overtones through skillful editing.

References

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External links

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