National Film Award for Best Feature Film in Marathi

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National Film Award for Best Feature Film in Marathi
Type National
Category Indian Cinema
Description Best Marathi Feature Film(s) of the year
Instituted 1954
First awarded 1954
Last awarded 2014
Total awarded 57
Awarded by Directorate of Film Festivals
Cash award 100,000 (US$1,500)
Medal Rajat Kamal (Silver Lotus)
Previous name(s) President's Silver Medal for Best Feature Film in Marathi (1954–1968)
First awardee(s) Mahatma Phule
Recent awardee(s) Killa

The National Film Award for Best Feature Film in Marathi 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 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.[1] 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).

Directed by P. K. Atre, the 1954 film Mahatma Phule, based on life of a Maharashtrian social reformer Jyotiba Govindrao Phule, was honoured with the first president's Silver Medal for Best Feature Film in Marathi. Following is the list of Silver Lotus Award (Rajat Kamal) recipient films produced in Marathi language.

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
*
Indicates a joint award for that year
List of award films, showing the year (award ceremony), producer(s), director(s) and citation
Year Film(s) Producer(s) Director(s) Citation
1954
(2nd)
Mahatma Phule[1] Atre Pictures Pralhad Keshav Atre  –
1955
(3rd)
Me Tulas Tujhya Angani[2] Nav Chitra Raja Thakur  –
1955
(3rd)
Shevagyachya Shenga[2] Sadashiv Row J. Kavi Shantaram Athavale  –
1956
(4th)
No Award[3]
1957
(5th)
Gruhdevta[4] Surel Chitra Madhav Shinde  –
1958
(6th)
Dhakti Jau[5]  • Sarvashri Wamanrao Kulkarni
 • Vishnupant Chavan
Anant Mane  –
1959
(7th)
No Award[6]
1960
(8th)
Kanyadan[7] Surel Chitra Madhav Shinde  –
1960
(8th)
Umaj Padel Tar[7] Narayan Baburao Kamat Dinkar D. Patil  –
1961
(9th)
Manini[8] Kala Chitra Anant Mane  –
1961
(9th)
Vaijayanta[8] Rekha Films Gajanan Jagirdar  –
1961
(9th)
Manasala Pankh Astat[8] Madhav Shinde Madhav Shinde  –
1962
(10th)
Rangalya Ratree Ashya[9] The Maharashtra Film Industrial Co-Operative Society Ltd. Raja Thakur  –
1962
(10th)
Jaawai Majha Bhala[9] Maneesha Chitra Pvt Ltd. Neelkanth Magdum  –
1962
(10th)
Gariba Gharchi Lek[9] Shivaji Gulabrao Katkar Kamlakar Vishnu Torne  –
1963
(11th)
Ha Majha Marg Ekla[10] Sudhir Phadke Raja Paranjape  –
1963
(11th)
Te Majhe Ghar[10] Ravindra Bhat Ganesh Bhat  –
1964
(12th)
Pathlaag[11] Raja Paranjape Raja Paranjape  –
1964
(12th)
Tuka Jhalasi Kalas[11] N. G. Datar Raja Nene  –
1964
(12th)
Sawaal Majha Aika![11] Anant Govind Mane Anant Govind Mane  –
1965
(13th)
Sadhi Manasa[12] Lilabai Bhalji Pendharkar Bhalji Pendharkar  –
1965
(13th)
Nirmon[12] (Konkani) Frank Fernand A. Salam  –
1965
(13th)
Yuge Yuge Me Vaat Pahili[12] Babasaheb S. Fatehlal C. Vishwanath  –
1966
(14th)
Pawana Kantcha Dhondi Anant Thakur  –
1967
(15th)
Santh Wahate Krishnamai[13] Sahakari Chitrapath Sanstha Ltd M. G. Pathak  –
1968
(16th)
Ektee[14] G. Chaugle Raja Thakur  –
1969
(17th)
Tambdi Mati[15] Lilabai Bhalji Pendharkar Bhalji Pendharkar  –
1970
(18th)
Mumbaicha Jawai[16] Tushar Pradhan Raja Thakur  –
1971
(19th)
Shantata! Court Chalu Aahe Arvind Deshpande  –
1972
(20th)
Pinjra[17] V. Shantaram V. Shantaram  –
1973
(21st)
No Award[18]
1974
(22nd)
No Award[19]
1975
(23rd)
Saamna[20] Ramdas Phutane Jabbar Patel  –
1976
(24th)
No Award
1977
(25th)
Jait Re Jait[21] Usha Mangeshkar Jabbar Patel <templatestyles src="Template:Hidden begin/styles.css"/>
For consistently transferring to the film medium a successful fictional work (Thakurwadi by G. N. Dandekar); for high lightening the mutual inconsistencies of love, of the fear of God and of superstition in a simple, innocent community of tribal, for the memorable use of the drum in evoking presence of the God and expressing the inexorable demands of love for a cinematic form which captures the lyricism, the cadence and the lilt of folk culture.
1978
(26th)
No Award[22]
1979
(27th)
Sinhasan Jabbar Patel  –
1980
(28th)
No Award[23]
1981
(29th)
Umbartha[24]  • Jabbar Patel
 • D. V. Rao
Jabbar Patel <templatestyles src="Template:Hidden begin/styles.css"/>
For a sincere cinematic statement on the theme of a woman seeking to establish her identity by pursuing a career, even at the risk of alienation from her family.
1982
(30th)
Shaapit[25]  • Madhukar Rupji
 • Sudha Chitale
 • Vinay Newalkar
 • Arvind Deshpande
 • Rajdutt
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For dealing with several dimensions of feudalism.
1983
(31st)
Smruti Chitre[26] Vinayak Chaskar Vijaya Mehta <templatestyles src="Template:Hidden begin/styles.css"/>
For its compassionate portrayal of an early woman writer and its compelling study of a tormented soul coming to terms with her social condition.
1984
(32nd)
Mahananda[27] Mahesh Satoskar K. G. Koregaonkar  –
1985
(33rd)
Pudhche Paool[28]  • Madhukar Rupji
 • Sudha A. Chitle
 • Vinay Newalkar
Rajdutt <templatestyles src="Template:Hidden begin/styles.css"/>
For a film with powerful social content, exposing the evil of dowry and underlining that the only solution is social censure.
1986
(34th)
No Award[29]
1987
(35th)
Sarja[30] Seema Deo Rajdutt <templatestyles src="Template:Hidden begin/styles.css"/>
For its patriotic vigour in the retelling of a story set during the turbulent times of Shivaji.
1988
(36th)
No Award[31]
1989
(37th)
Kalat Nakalat[32] Smita Talwalkar Kanchan Nayak <templatestyles src="Template:Hidden begin/styles.css"/>
For its delicate description of the tension of love in various facets; wife, mistress and children; and the resolution of tensions in favour of keeping a family together.
1990
(38th)
No Award[33]
1991
(39th)
No Award[34]
1992
(40th)
Ek Hota Vidushak[35] NFDC Jabbar Patel <templatestyles src="Template:Hidden begin/styles.css"/>
For its humane portrait of simple tamash clown sucked in by the glittering world of show business and exploited by politicians.
1993
(41st)
Lapandav[36]  • Sachin Parekar
 • Sanjay Parekar
Shravani Devdhar <templatestyles src="Template:Hidden begin/styles.css"/>
For its clever portrayal of comedy of errors, cutting across the generation gap and for its charming depiction of puppy-love, extending from the campus to the homes of today's youth, in a refreshing directorial debut.
1994
(42nd)
No Award[37]
1995
(43rd)
Bangarwadi[38] NFDC
Doordarshan
Amol Palekar <templatestyles src="Template:Hidden begin/styles.css"/>
For its realistic portrayal of a Maharashtrian village in the thirties through the experience of a young school teacher who tries to fight against all odds and superstition.
1996
(44th)
Rao Saheb[39]  • K. B. Joshi
 • Ravindra Surve
Sanjay Surkar <templatestyles src="Template:Hidden begin/styles.css"/>
For depicting the struggle for power of ambitious politicians in a most effective manner.
1997
(45th)
No Award[40]
1998
(46th)
Tu Tithe Mee[41] Smita Talwalkar Sanjay Surkar <templatestyles src="Template:Hidden begin/styles.css"/>
For shedding light on the plight of the old and the ageing and the crumbling of the joint family system in a novel and entertaining format of a love story. Beautiful performance by Mohan Joshi and Suhas Joshi are the highlights of the film.
1999
(47th)
Gharabaher[42]  • Ratan Madan
 • Narendra Shinde
Sanjay Surkar <templatestyles src="Template:Hidden begin/styles.css"/>
For depicting the hypocrisy exercised by man in complete contradiction of declared socio-political positions and a total reversal of behaviour when it comes to power and lust. It draws attention to the inherent problems in the empowerment of women.
2000
(48th)
Astitva[43] Jhamu Sughand Mahesh Manjrekar <templatestyles src="Template:Hidden begin/styles.css"/>
For dealing with the social issues, adultery and the subjugation of women. The film ends on a positive note of a woman's empowerment when the protagonist extends her horizon beyond home and hearth.
2001
(49th)
No Award[44]
2002
(50th)
Vaastuprush[45] NFDC  • Sumitra Bhave
 • Sunil Sukthankar
<templatestyles src="Template:Hidden begin/styles.css"/>
For its competent handling of a feudal family caught in the vortex of social change in post-independence India.
2003
(51st)
Not Only Mrs. Raut[46] Aditi Deshpande Gajendra Ahire <templatestyles src="Template:Hidden begin/styles.css"/>
For its treatment of two women's struggle against male exploitation and domination.
2004
(52nd)
Uttarayan[47]  • Bipin Nadkarni
 • Sanjay Shetty
Bipin Nadkarni <templatestyles src="Template:Hidden begin/styles.css"/>
For its portrayal of nostalgic love between two aged characters and their problems with the next generation.
2005
(53rd)
Dombivali Fast[48] Ramakant Gaikwad Nishikant Kamat <templatestyles src="Template:Hidden begin/styles.css"/>
For its portrayal of an urban middle class man who breaks down under tremendous stress and pressures of life in a corrupt modern city.
2006
(54th)
Shevri[49] Neena Kulkarni Gajendra Ahire <templatestyles src="Template:Hidden begin/styles.css"/>
For an empathetic portrayal of the struggles of middle class married woman estranged from her family.
2007
(55th)
Nirop[50] Aparna Dharmadhikari Sachin Kundalkar <templatestyles src="Template:Hidden begin/styles.css"/>
An original offbeat film that gives a fresh perspective of the internal landscapes of the human mind.
2008
(56th)
Harishchandrachi Factory[51] UTV Motion Pictures
Smiti Kanodia
Paresh Mokashi
Paresh Mokashi <templatestyles src="Template:Hidden begin/styles.css"/>
For its original of stylised recreation of a slice of history.
2009
(57th)
Natarang[52] Zee Entertainment Enterprises Ltd. Ravindra Harischandra Jadhav <templatestyles src="Template:Hidden begin/styles.css"/>
For depicting the passion of an artiste, who despite social ostracism, political oppression and personal failures, pursues his dream.
2010
(58th)
Mala Aai Vhhaychy![53] Samruddhi Porey Samruddhi Porey <templatestyles src="Template:Hidden begin/styles.css"/>
For an emotional presentation of the story of a surrogate mother who is torn between love and sacrifice for the child.
2011
(59th)
Shala[54]  • Vivek Wagh
 • Nilesh Navalkar
Sujay Dahake <templatestyles src="Template:Hidden begin/styles.css"/>
For film set in the time of the Emergency that is at once a coming of age, a slice of life and a political film. The director draws a map of ephemeral and fleeting moments, sensitively making connections between political culture, sexual repression, the family and the School System. The director also manages to maintain a unique balance between historical turbulence and the tender innocence of teenage love.
2012
(60th)
Investment [55] Pratibha Matkari Ratnakar Matkari <templatestyles src="Template:Hidden begin/styles.css"/>
This bold film portrays the devastating effects of instilling wrong values among children.
2013
(61st)
Aajcha Divas Majha[56] White Swan Productions Chandrakant Kulkarni <templatestyles src="Template:Hidden begin/styles.css"/>
A parody on musical chair in politics and a critique of the hierarchical system in bureaucracy, the film takes an unusual turn when the political boss has a change of heart.
2014
(62nd)
Killa[57] Jar Pictures & M R Film Works Avinash Arun <templatestyles src="Template:Hidden begin/styles.css"/>
For its warm portrait of a young boy as he emerges from the shadows of dislocation and loss in an unfamiliar environment to embracing what life has to offer.

References

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External links

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