National Film Award for Best Editing | |
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National award for contributions to Indian Cinema | |
Awarded for | Best film editing for the feature film for a year |
Sponsored by | Directorate of Film Festivals |
Reward(s) |
|
First awarded | 1976 |
Last awarded | 2019 |
Most recent winner | Naveen Nooli |
Highlights | |
Total awarded | 48 |
First winner | K. Babu Rao |
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. The editor with the most awards in this category is A. Sreekar Prasad with seven wins.
7 wins : A. Sreekar Prasad
4 wins : Renu Saluja
3 wins : Gangadhar Naskar
2 wins : M. S. Mani , Suresh Pai, Kishore Te
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 | |||||
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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 | ' |
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