National Film Award for Best Editing

National Film Award for Best Editing
National award for contributions to Indian Cinema
Awarded for	Best film editing for the feature film for a year
Sponsored by	National Film Development Corporation of India
Reward(s)	Rajat Kamal (Silver Lotus) ₹2,00,000
First awarded	1976
Last awarded	2022
Most recent winner	Mahesh Bhuvanend
Highlights
Total awarded	51
First winner	K. Babu Rao

The National Film Award for Best Editing is one of the National Film Awards presented annually by the National Film Development Corporation of 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. The editor with the most awards in this category is A. Sreekar Prasad with nine wins.

Multiple winners

9 wins : A. Sreekar Prasad

4 wins : Renu Saluja

3 wins : Gangadhar Naskar

2 wins : M. S. Mani, Suresh Pai, Kishore Te

Recipients

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	Refs.
1976 (24th)	K. Babu Rao	Siri Siri Muvva	Telugu	–	[1]
1977 (25th)	Waman Bhonsle	Inkaar	Hindi	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.	[2]
	Gurudutt Shirali
1978 (26th)	Gangadhar Naskar	Parasuram	Bengali	For his bravura style of editing which is in complete harmony with the highly stylised treatment of the theme by the director.	[3]
1979 (27th)	Gangadhar Naskar	Ek Din Pratidin	Bengali	–	[4]
1980 (28th)	Gangadhar Naskar	Akaler Shandhaney	Bengali	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.	[5]
1981 (29th)	Bhanudas Divakar	Arohan	Hindi	For precision in timing, for excellent juxtaposition of images, for sustained tempo and rhythm and a masterful creation of the deluge sequence.	[6]
1982 (30th)	Keshav Hirani	Arth	Hindi	For sustaining the inherent tension in the plot by precise timing and artistic juxtaposition of images and sounds.	[7]
1983 (31st)	Mrinmoy Chakraborty	Khandhar	Hindi	For his work which gives the film its structure, rhythm and brooding quality.	[8]
1984 (32nd)	Anil Malnad	Sitaara	Telugu	–	[9]
1985 (33rd)	Babu Sheikh	Hum Naujawan	Hindi	For his work in the film which, due to his slick editing becomes more effective.	[10]
1986 (34th)	Sanjiv Shah	Mirch Masala	Hindi	For his perfection in creating a smooth flow.	[11]
1987 (35th)	P. Mohanraj	Vedham Pudhithu	Tamil	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.	[12]
1988 (36th)	A. Sreekar Prasad	Raakh	Hindi	For his precise use of time and juxtaposition in bringing out creatively the internal turmoil of a modern youth.	[13]
1989 (37th)	Renu Saluja	Parinda	Hindi	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.	[14]
1990 (38th)	M. S. Mani	Iyer the Great	Malayalam	For slick well-placed editing which elevates the craft of the film.	[15]
1991 (39th)	Renu Saluja	Dharavi	Hindi	For achieving right timing and rhythm, with the dexterous juxtaposition of sound and visuals.	[16]
1992 (40th)	M. S. Mani	Sargam	Malayalam	For imparting a natural rhythm to Sargam completely in time with its musical format.	[17]
1993 (41st)	Renu Saluja	Sardar	Hindi	For combining expertise with artistry in a diverse and disparate series of sequences into a memorable experience of epic cinema.	[18]
1994 (42nd)	B. Lenin	Kadhalan	Tamil	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.	[19]
	V. T. Vijayan
1995 (43rd)	Suresh Urs	Bombay	Tamil	For its impeccable craftsmanship in bringing about the pace, rhythm and flow in narrating the story.	[20]
1996 (44th)	A. Sreekar Prasad	Rag Birag	Assamese	For slickly editing with imagination, setting the pace and flow of the story.	[21]
1997 (45th)	A. Sreekar Prasad	The Terrorist	Tamil	For his sleek, officient and sharp editing which gives the film an absorbing pace, making it gripping and thought provoking.	[22]
1998 (46th)	Renu Saluja	Godmother	Hindi	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.	[23]
1999 (47th)	A. Sreekar Prasad	Vanaprastham	Malayalam	For maintaining the required unity of form and content by putting images and sound tracks in perfect harmony and rhythm for this film.	[24]
2000 (48th)	Suresh Pai	Snip!	English	For creating an evocative rhythm in the film enhancing the pace of the narrative while aesthetically maintaining the unit of form and content.	[25]
	Apurva Asrani
2001 (49th)	Beena Paul	Mitr, My Friend	English	For her crisp and taut cutting, makes her bag this award. The excellence is on view in frames offering imaginative touch.	[26]
2002 (50th)	A. Sreekar Prasad	Kannathil Muthamittal	Tamil	For heightening the dramatic conflicts of the story.	[27]
2003 (51st)	Aarif Sheikh	Samay: When Time Strikes	Hindi	For its crisp cutting that successfully sustains the tempo of the film's suspense.	[28]
2004 (52nd)	Suresh Pai	Page 3	Hindi	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.	[29]
2005 (53rd)	P. S. Bharati	Rang De Basanti	Hindi	For creating a commendable pace and multi-layered visual design that heightens the impact of the film.	[30]
2006 (54th)	Raja Mohammad	Paruthiveeran	Tamil	For innovative editing that enhanced the director's vision to fashion a powerful film.	[31]
2007 (55th)	B. Ajith Kumar	Naalu Pennungal	Malayalam	For presenting at a uniform pace four different stories which unfold as a single entity.	[32]
2008 (56th)	A. Sreekar Prasad	Firaaq	Hindi	For aesthetically weaving together unrelated sequences to heighten the dramatic impact.	[33]
2009 (57th)	Arghyakamal Mitra	Abohomaan	Bengali	For a very precise juxtaposition of time and space, allowing every frame to unravel the story with a keen sense of rhythm and pace.	[34]
2010 (58th)	Kishore Te.	Aadukalam	Tamil	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.	[35]
2011 (59th)	Praveen K. L.	Aaranya Kaandam	Tamil	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 skillful inter-cutting of the real world of the characters with the perceived realities of the dark and deprived urban spaces that they inhabit.	[36]
	N. B. Srikanth
2012 (60th)	Namrata Rao	Kahaani	Hindi	Imaginative editing has embellished the rhythm and flow of this highly watchable thriller.	[37]
2013 (61st)	V. J. Sabu Joseph	Vallinam	Tamil	An excellent pace set in this sport based film by the editor. The match sequences have been masterly cut.	[38]
2014 (62nd)	Vivek Harshan	Jigarthanda	Tamil	For structuring the different narratives of raw cruelty and urban cunning that eventually intermingle with positive and humorous overtones through skilful editing.	[39]
2015 (63rd)	Kishore Te	Visaranai	Tamil	Maintaining the momentum and edginess of the plot progression of police interrogation, with innovative editing techniques.	[40]
2016 (64th)	Rameshwar S. Bhagat	Ventilator	Marathi	Never a dull moment through 'organic' as well as 'plastic' juggling of short-lengths.	[41]
2017 (65th)	Rima Das	Village Rockstars	Assamese	–
2018 (66th)	Nagendra K. Ujjani	Nathicharami	Kannada	Crisp and smooth transition between different characters is a hallmark.	[42]
2019 (67th)	Naveen Nooli	Jersey	Telugu	For maintaining a seamless flow of the scenes and cricket.	[43]
2020 (68th)	A. Sreekar Prasad	Sivaranjiniyum Innum Sila Pengalum	Tamil	For the construction of a temporal timeline that beacons the audience to experience and empathise with the characters depicted.
2021 (69th)	Sanjay Leela Bhansali	Gangubai Kathiawadi	Hindi
2022 (70th)	Mahesh Bhuvanend	Aattam	Malayalam

References

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External links

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