National Film Award for Best Popular Film Providing Wholesome Entertainment
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National Film Award for Best Popular Film Providing Wholesome Entertainment | |
---|---|
Type | National |
Category | Indian Cinema |
Instituted | 1974 |
First awarded | 1974 |
Last awarded | 2014 |
Total awarded | 38 |
Awarded by | Directorate of Film Festivals |
Cash award | ₹200,000 (US$3,000) |
Medal | Swarna Kamal (Golden Lotus) |
Previous name(s) | • Best Feature Film with Mass Appeal, Wholesome Entertainment and Aesthetic Value (1974–1985) • Best Film Providing Popular and Wholesome Entertainment (1986–1988) |
First awardee(s) | Kora Kagaz |
Recent awardee(s) | Mary Kom |
The National Film Award for Best Popular Film Providing Wholesome Entertainment is one of the National Film Awards presented annually by the Directorate of Film Festivals, India, and was constituted in the year 1975. This is one of the Golden Lotus Awards (Swarna Kamal) given among National Film Awards. It is announced for films produced in a year across the country, in all Indian languages.
Winners
Indicates a joint award for that year |
List of films, showing the year (award ceremony), language(s), producer(s), director(s) and citation | ||||||
---|---|---|---|---|---|---|
Year | Film(s) | Language(s) | Producer(s) | Director(s) | Citation | Refs. |
1974 (22nd) |
Kora Kagaz![]() |
Hindi | Sanat Kothari for Shreeji Films | Anil Ganguly | – | [1] |
1975 (23rd) |
Tapasya | Hindi | Rajshri Productions | Anil Ganguly | – | [2] |
1976 (24th) |
No Award | [3] | ||||
1977 (25th) |
Swami | Hindi | Jaya Charavarthy | Basu Chatterjee | <templatestyles src="Template:Hidden begin/styles.css"/>
For a taut script, for restrained, mature and dignified performances (especially by Girish Karnad), for meticulous attention to detail, for maintaining the spirit of the original story and translating it into the film medium with effectiveness and grace, for giving an old theme a contemporary relevance, for providing that it is possible to make a film with popular appeal without surrendering psychological truth or artistic values.
|
[4] |
1978 (26th) |
Ganadevata | Bengali | Department of Information and Cultural Affairs, Government of West Bengal | Tarun Majumdar | <templatestyles src="Template:Hidden begin/styles.css"/>
For brilliant picturisation of modern literary classic. Like the novel, film succeeds in capturing a whole era in transition. Steering clear of both commercial vulgarisation and pretentiousness, the film uses all the cinematic, to effectively communicate to the masses.
|
[5] |
1979 (27th) |
Sankarabharanam | Telugu | Edida Nageshwara Rao | Kasinadhuni Viswanath | <templatestyles src="Template:Hidden begin/styles.css"/>
Powerful presentation of the teacher-student relationship, highlights the urgent need of revival of Indian classical music through a powerful protagonist. For a creative use of classical music as a metaphor for popular cinematic narrative and entertainment.
|
[6] |
1980 (28th) |
No Award | [7] | ||||
1981 (29th) |
No Award | [8] | ||||
1982 (30th) |
No Award | [9] | ||||
1983 (31st) |
No Award | [10] | ||||
1984 (32nd) |
Koni | Bengali | Government of West Bengal | Saroj Dey | – | [11] |
1985 (33rd) |
No Award | [12] | ||||
1986 (34th) |
Samsaram Adhu Minsaram | Tamil | AVM Productions | Visu | <templatestyles src="Template:Hidden begin/styles.css"/>
For its entertaining presentation of a complex contemporary social problem – the disintegration of the joint family.
|
[13] |
1987 (35th) |
Pushpaka Vimana | Silent film | • Singeetam Srinivasa Rao • Shringar Nagaraj |
Singeetam Srinivasa Rao | <templatestyles src="Template:Hidden begin/styles.css"/>
For its innovative approach to entertainment.
|
[14] |
1988 (36th) |
Qayamat Se Qayamat Tak | Hindi | Nasir Hussain Films | Mansoor Khan | <templatestyles src="Template:Hidden begin/styles.css"/>
For presenting fresh and clean charm on celluloid with discerning imagination.
|
[15] |
1989 (37th) |
Chandni | Hindi | Yash Raj Films | Yash Chopra | <templatestyles src="Template:Hidden begin/styles.css"/>
For providing clean and romantic entertainment illuminated with smooth performances and fresh lyrics in folk form.
|
[16] |
1989 (37th) |
Geethanjali | Telugu | Bhagyalakshmi Enterprises | Mani Ratnam | <templatestyles src="Template:Hidden begin/styles.css"/>
For its innovative approach in depicting youthful passion.
|
[16] |
1990 (38th) |
Ghayal | Hindi | Dharmendra | Rajkumar Santoshi | <templatestyles src="Template:Hidden begin/styles.css"/>
For being thematically highly credible, emotionally very well-woven, logically executed, and technically superb film.
|
[17] |
1991 (39th) |
No Award | [18] | ||||
1992 (40th) |
Sargam | Malayalam | Bhavani | Hariharan | <templatestyles src="Template:Hidden begin/styles.css"/>
For its delighful rendering of a family saga into a heartwarming musical film.
|
[19] |
1993 (41st) |
Manichitrathazhu | Malayalam | Appachan | Fazil | <templatestyles src="Template:Hidden begin/styles.css"/>
For handling an unusual subject of psychological aberration in a conservative society and the ultimate acceptance of a modern approach.
|
[20] |
1993 (41st) |
Darr | Hindi | Yash Chopra | Yash Chopra | <templatestyles src="Template:Hidden begin/styles.css"/>
For its convincing presentation of the theme of love, which has been rendered complex by its relationship with past experiences of fear.
|
[20] |
1994 (42nd) |
Hum Aapke Hain Koun..! | Hindi | Rajshri Productions | Sooraj R. Barjatya | <templatestyles src="Template:Hidden begin/styles.css"/>
For revolutionising mass entertainment in India with a family entertainer and a fantasy film that succeeds without recourse to familiar narrative idioms of violence.
|
[21] |
1995 (43rd) |
Dilwale Dulhania Le Jayenge | Hindi | Yash Chopra | Aditya Chopra | <templatestyles src="Template:Hidden begin/styles.css"/>
For providing meaningful family entertainment through a simple love story with kindness and sensitivity.
|
[22] |
1996 (44th) |
Maachis | Hindi | R. V. Pandit | Gulzar | <templatestyles src="Template:Hidden begin/styles.css"/>
For powerful depiction of Punjab situation, exploring the trauma, conflict and tragedy of the youth in Punjab.
|
[23] |
1997 (45th) |
Dil To Pagal Hai | Hindi | Yash Chopra | Yash Chopra | <templatestyles src="Template:Hidden begin/styles.css"/>
For its clean, fun-loving portrayal of young people in the film that moves effortlessly and avoids any signs of violence or vulgarity.
|
[24] |
1998 (46th) |
Kuch Kuch Hota Hai | Hindi | Yash Johar | Karan Johar | <templatestyles src="Template:Hidden begin/styles.css"/>
For the irresistible charm and universal appeal of its story, music, dance and performances.
|
[25] |
1999 (47th) |
Sarfarosh | Hindi | John Matthew Matthan | John Matthew Matthan | <templatestyles src="Template:Hidden begin/styles.css"/>
For its engrossing projection of an honest officer, who fights engineered subversion which fuels suspicion and sours relationship between two communities. A bold subject for the debut film of a director in mainstream cinema.
|
[26] |
2000 (48th) |
Vaanathaippola | Tamil | Venu Ravichandran | Vikraman | <templatestyles src="Template:Hidden begin/styles.css"/>
For its sincere projection of the values of a joint family and the need to share good and difficult times together.
|
[27] |
2001 (49th) |
Lagaan | Hindi | Aamir Khan | Ashutosh Gowariker | <templatestyles src="Template:Hidden begin/styles.css"/>
For showing the victory of the human spirit in the face of oppression and for the creative use of a Cricket game as a metaphor for both colonisation and nationalism.
|
[28] |
2002 (50th) |
Devdas | Hindi | Bharat Shah | Sanjay Leela Bhansali | <templatestyles src="Template:Hidden begin/styles.css"/>
For its technical finesse and its modern reinterpretation of an enduring classic.
|
[29] |
2003 (51st) |
Munna Bhai M.B.B.S. | Hindi | Vidhu Vinod Chopra | Rajkumar Hirani | <templatestyles src="Template:Hidden begin/styles.css"/>
For dealing with social issues with humour and compassion.
|
[30] |
2004 (52nd)* |
Veer-Zaara | Hindi | Yash Raj Films | Yash Chopra | <templatestyles src="Template:Hidden begin/styles.css"/>
For invoking a touching tale of love highlighting the importance of human relationship above man-made boundaries.
|
[31] |
2004 (52nd) |
Autograph | Tamil | Cheran | Cheran | <templatestyles src="Template:Hidden begin/styles.css"/>
For invoking nostalgia in a manner that is powerful yet poetic.
|
[31] |
2005 (53rd) |
Rang De Basanti | Hindi | • UTV Motion Pictures • Rakeysh Omprakash Mehra Pictures |
Rakeysh Omprakash Mehra | <templatestyles src="Template:Hidden begin/styles.css"/>
For creating popular appeal that captures the angst of the younger generation with compassion and imagination.
|
[32] |
2006 (54th) |
Lage Raho Munna Bhai | Hindi | Vidhu Vinod Chopra | Rajkumar Hirani | <templatestyles src="Template:Hidden begin/styles.css"/>
For revalidating the philosophy of non-violence in a strife-torn world and helping rediscover the Gandhi within the common man.
|
[33] |
2007 (55th) |
Chak De! India | Hindi | Aditya Chopra | Shimit Amin | <templatestyles src="Template:Hidden begin/styles.css"/>
For thoroughly entertaining the audience, making one proud to be an Indian. A masterpiece of inspired filmmaking.
|
[34] |
2008 (56th) |
Oye Lucky! Lucky Oye! | Hindi | UTV Motion Pictures | Dibakar Banerjee | <templatestyles src="Template:Hidden begin/styles.css"/>
For its intelligent treatment of an off-beat subject that makes it different within the popular format.
|
[35] |
2009 (57th) |
3 Idiots | Hindi | Vidhu Vinod Chopra | Rajkumar Hirani | <templatestyles src="Template:Hidden begin/styles.css"/>
For an intelligent entertainer that touches upon the contemporary concerns of society with great humour and engaging performances.
|
[36] |
2010 (58th) |
Dabangg | Hindi | • Arbaaz Khan • Malaika Arora Khan • Dhillin Mehta |
Abhinav Kashyap | <templatestyles src="Template:Hidden begin/styles.css"/>
For answering the need of cinegoers for entertainment rooted in Indian soil.
|
[37] |
2011 (59th) |
Azhagarsamiyin Kuthirai | Tamil | P. Madhan | Suseenthiran | <templatestyles src="Template:Hidden begin/styles.css"/>
For redefining conventional notions of modern entertainment and still gaining acceptance in the mainstream. The director boldly sets out to narrate a fable revolving around temple rituals within a completely realistic framework of farmers, politicians and the poor families of rural Tamil Nadu. His engagement with filmic language is as robust as the emotional graphs charted out by a massive ensemble of characters.
|
[38] |
2012 (60th) |
Vicky Donor | Hindi | • Sunil Lulla • John Abraham • Ronnie Lahiri • Ram Mirchandani |
Shoojit Sircar | <templatestyles src="Template:Hidden begin/styles.css"/>
A wholesome entertainer presented in a breezy and humorous fashion. The film-maker has deftly avoided falling into the beaten track of formula films by presenting the sensitive subject of sperm donation without pandering to the baser instincts of the average viewer.
|
[39] |
2012 (60th) |
Ustad Hotel | Malayalam | Listin Stephen | Anwar Rasheed | <templatestyles src="Template:Hidden begin/styles.css"/>
An excellent advertisement for 'Desi Enterprise', the film conveys a strong message of seeking realization, compassion and contentment through service to the society at large!
|
[39] |
2013 (61st) |
Bhaag Milkha Bhaag | Hindi | Rakeysh Omprakash Mehra | Rakeysh Omprakash Mehra | <templatestyles src="Template:Hidden begin/styles.css"/>
For retaining the story and values of a great sportsman and translating it into the cinematic medium with aplomb.
|
[40] |
2014 (62nd) |
Mary Kom | Hindi | Sanjay Leela Bhansali | Omung Kumar | <templatestyles src="Template:Hidden begin/styles.css"/>
For an inspiring tale of a woman who becomes a national icon through her determined pursuit of sporting excellence..
|
[41] |
– Vijay Anand (actor) and Jaya Bhaduri (Leading Actress) were awarded with Medallion
References
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