National Film Award for Best Screenplay

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National Film Award for Best Screenplay
Type National
Category Indian Cinema
Description Best screenplay for a feature film for a year
Instituted 1967 (Screenplay Writer (Original))
2009 (Screenplay Writer (Adapted))
2009 (Dialogues)
First awarded 1967 (Screenplay Writer (Original))
2009 (Screenplay Writer (Adapted))
2009 (Dialogues)
Last awarded 2013
Total awarded 46 (Screenplay Writer (Original))
5 (Screenplay Writer (Adapted))
5 (Dialogues)
Awarded by Directorate of Film Festivals
Cash award ₹50,000 (US$740)
Medal Rajat Kamal (Silver Lotus)
First awardee(s) S. L. Puram Sadanandan
Recent awardee(s)  • Srijit Mukherji
Screenplay Writer (Original)
 • Joshy Mangalath
Screenplay Writer (Adapted)
 • Vishal Bhardwaj
(Dialogues)

This is the list of the National Film Awards (India) for Best Screenplay presented annually by the Directorate of Film Festivals, the organisation established 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 1967, at 15th National Film Awards and awarded annually for films produced in the year across the country, in all Indian languages.

Since the 57th National Film Awards in 2009, the award has been sub-categorized into Screenplay Original, Screenplay Writer (Adapted) and Dialogues.

Superlatives

Superlative Best Screenplay
Most awards M T Vasudevan Nair (1989,1991,1992,1994) 4

Winners

Awards legends
Screenplay Writer (Original)
Screenplay Writer (Adapted)
Dialogues

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
1967
(15th)		 S. L. Puram Sadanandan[1] Agniputhri Malayalam  –
1968
(16th)		 Pandit Anand Kumar[2] Anokhi Raat Hindi  –
1969
(17th)		 Puttanna Kanagal[3] Gejje Pooje Kannada  –
1970
(18th)		 Satyajit Ray[4] Pratidwandi Bengali  –
1971
(19th)		 Tapan Sinha[5] Ekhonee Bengali  –
1972
(20th)
 Gulzar[6] Koshish Hindi  –
1973
(21st)		  • Mrinal Sen[7]
 • Ashish Burman		 Padatik Bengali  –
1974
(22nd)		 Satyajit Ray[8] Sonar Kella Bengali  –
1975
(23rd)		 No Award[9]
1976
(24th)
 Vijay Tendulkar[10] Manthan Hindi  –
1977
(25th)		  • Satyadev Dubey
 • Shyam Benegal
 • Girish Karnad[11]		 Bhumika Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For powerfully recreating the biography of an actress, for its rare, psychological insights and understanding of human relationships, for the complex integration of theme, style and dramatic situation into an engrossing whole, which provokes the spectator into a new awareness of the predicament of the working woman in Indian society.
1978
(26th)		  • T. S. Ranga[12]
 • T. S. Nagabharana		 Grahana Kannada <templatestyles src="Template:Hidden begin/styles.css"/>
For maintaining taunt narrative line without resorting to melodrama and retaining a firm grip on the central idea in an action packed film.
1979
(27th)		 Sai Paranjpye[13] Sparsh Hindi  –
1980
(28th)		 Mrinal Sen[14] Akaler Sandhane Bengali <templatestyles src="Template:Hidden begin/styles.css"/>
For effectively combining the terse and pithy dialogue with creation of well-defined, lively characters to convey a poignant story which leaves a lasting impression.
1981
(29th)		 K. Balachander[15] Thanneer Thanneer Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For translating the suffering of the people in drought-affected areas into a gripping visual narrative.
1982
(30th)		 Mrinal Sen[16] Kharij Bengali <templatestyles src="Template:Hidden begin/styles.css"/>
For its economy of expression in the treatment of a sensitive theme.
1983
(31st)		 G. V. Iyer[17] Adi Shankaracharya Sanskrit <templatestyles src="Template:Hidden begin/styles.css"/>
For its rich texture, lyricism and cinematic elegance in its presentation of Shankaracharya as an embodiment of greatness.
1984
(32nd)		 Adoor Gopalakrishnan[18] Mukhamukham Malayalam  –
1985
(33rd)		 Bhabendra Nath Saikia[19] Agnisnaan Assamese <templatestyles src="Template:Hidden begin/styles.css"/>
For the powerful rendering of the saga of a woman who goea through the revolution against the prevailing social mores and comesto terms with herself.
1986
(34th)		 Buddhadeb Dasgupta[20] Phera Bengali <templatestyles src="Template:Hidden begin/styles.css"/>
For its penetrative and sensitive screenplay depicting the trauma faced by an artist in search of his identity in relation to his professional and personal life.
1987
(35th)		 Adoor Gopalakrishnan[21] Anantaram Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For the precision in structuring a very complex narrative content requiring both exceptional dramatic and literary skills.
1988
(36th)		 Award returned by awardee[22] In Which Annie Gives It Those Ones English <templatestyles src="Template:Hidden begin/styles.css"/>
For capturing the anguish prevailing among students of professional institutions.
1989
(37th)		 M. T. Vasudevan Nair[23] Oru Vadakkan Veeragatha Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For the gripping plot, clearly etched characterisations and the brilliant portrayal of life in Kerala a few hundred years ago.
1990
(38th)		 K. S. Sethumadhavan[24] Marupakkam Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For depicting a simplistic story, capturing the various levels of philosophy, psychology, tradition and relationships perfectly.
1991
(39th)		 M. T. Vasudevan Nair[25] Kadavu Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For its sensitive and poetic treatment of disillusionment of an underprivileged adolescent.
1992
(40th)		 M. T. Vasudevan Nair[26] Sadayam Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For an extremely well structured script.
1993
(41st)		 Satyajit Ray (Posthumously)[27] Uttoran Bengali <templatestyles src="Template:Hidden begin/styles.css"/>
For designing and structuring a screenplay from an imaginative and aesthetic angle, with a superb control over the unity of impressions.
1994
(42nd)		 M. T. Vasudevan Nair[28] Parinayam Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For his masterly use of fiction in cinema, reconstructing pre-1940s Kerala through sharply defined characters and remarkable control over dialogue.
1995
(43rd)		  • Ashok Mishra[29]
 • Saeed Akhtar Mirza		 Naseem Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For their masterly and sensitive visual narration of a volatile and confused situation of the year 1992 in India with great depth and simplicity of words.
1996
(44th)		 Agathiyan[30] Kadhal Kottai Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For tightly knit and smooth flowing plot with excellent dialogues and razor-sharp tuning.
1997
(45th)		 Rituparno Ghosh[31] Dahan Bengali <templatestyles src="Template:Hidden begin/styles.css"/>
For tactfully crafting a sensitive theme that dwells upon an incident which raises issues of social responsibility and personal awareness.
1998
(46th)		 Ashok Mishra[32] Samar Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For Hindi film Samar where he has used a unique structure to ekplore the complek contradictions of urban/rural, rich/poor, pcwerful/dcwntrodden in a simple story line laced with poignant Moments of humour and irony for a perceptive insight into contemporary indian life.
1999
(47th)		 Madampu Kunjukuttan[33] Karunam Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For expressing with extreme economy and skilful cinematic treatment a story based on a sensitive screenplay woven around an old couple.
2000
(48th)		 P. Bharathiraja[34] Kadal Pookkal Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For focusing, in present times of degeneration, on love, sacrifice and family values.
2001
(49th)		 G. Neelakanta Reddy[35] Show Telugu <templatestyles src="Template:Hidden begin/styles.css"/>
For the film, which seems to probes a real – unreal dramatic situation involving two characters full of emotion and conflicts, with a rare touch of artistic sensitivity.
2002
(50th)		 Aparna Sen[36] Mr. and Mrs. Iyer English <templatestyles src="Template:Hidden begin/styles.css"/>
For its fluid narration of the nuances of an ambiguous relationship in troubled times.
2003
(51st)		 Gautam Ghose[37] Abar Aranye Bengali <templatestyles src="Template:Hidden begin/styles.css"/>
For weaving together the strands of time creating a resonant dialogue between the past and the present.
2004
(52nd)		  • Manoj Tyagi
 • Nina Arora[38]		 Page 3 Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For telling a complex story in a stunningly simple manner. It takes you into the empty shallow world of Page 3, in a manner which is funny yet deeply empathetic.
2005
(53rd)		  • Prakash Jha
 • Shridhar Raghavan
 • Manoj Tyagi[39]		 Apaharan Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For creating a crisp screenplay that is riveting and renders pace to the entire film.
2006
(54th)		  • Abhijat Joshi[40]
 • Rajkumar Hirani
 • Vidhu Vinod Chopra		 Lage Raho Munna Bhai Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For the original vision with which Gandhi's philosophy of non-violence is given life in popular parlance.
2007
(55th)		 Feroz Abbas Khan[41] Gandhi, My Father Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For the imaginative and emotional handling of uncompromisingly steadfast side of the Father of the Nation with special reference to his relationship with his troublesome son.
2008
(56th)		 Sachin Kundalkar Gandha[42] Marathi <templatestyles src="Template:Hidden begin/styles.css"/>
For its remarkable integration of three different plots using the sense of smell at as a liet motif to focus sensitively on human relationships.
2009
(57th)		  • P. F. Mathews
 • Harikrishna[43]		 Kutty Srank Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For the mysterious narrative that weaves together multiple perspectives to create a coherent whole, and yet leaves a haunting ambiguity.
2009
(57th)		  • Gopal Krishan Pai
 • Girish Kasaravalli[43]		 Kanasemba Kudureyaneri Kannada <templatestyles src="Template:Hidden begin/styles.css"/>
For linking the theme of death and its inevitability through a narrative style that presents two versions of the same event, not necessarily in chronological order.
2009
(57th)		 Pandiraj[43] Pasanga Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For the conversational quality with its cutting edge wit and life like freshness.
2010
(58th)		 Vetrimaaran[44] Aadukalam Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For its kaleidoscopic variety that uses realism, tradition and contemporaneity, soaked in local flavour on an infinite canvas.
2010
(58th)		  • Anant Mahadevan
 • Sanjay Pawar[44]		 Mee Sindhutai Sapkal Marathi <templatestyles src="Template:Hidden begin/styles.css"/>
For retaining the concerns and values of a biographical account while translating it into the cinematic medium and honouring the essence of the original.
2010
(58th)		 Sanjay Pawar[44] Mee Sindhutai Sapkal Marathi <templatestyles src="Template:Hidden begin/styles.css"/>
For bringing to life the textures of various characters through articulating their emotion and thought process.
2011
(59th)		  • Vikas Bahl
 • Nitesh Tiwari
 • Vijay Maurya[45]		 Chillar Party Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For a charming and utterly professional construct of an engaging middle class urban narrative that neatly delivers the values of compassion, friendship, loyalty, commitment and imagination in the world of children. They use familiar spaces, characters and situations to create an entertaining and surprising fabric of a caring society that still believes in what is good and right.
2011
(59th)		 Avinash Deshpande Nigdi[45] Shala Marathi <templatestyles src="Template:Hidden begin/styles.css"/>
For the cinematic adaptation of a literary work that encompasses several issues and characters is always a challenging task. He skilfully transforms the descriptive power of the literary text into a cinematic narrative of layered and tender moments. Despite a range of characters and subplots, the screenplay engagingly links the lives of its teenage protagonists to the repressive context of the National Emergency.
2011
(59th)		 Girish Kulkarni[45] Deool Marathi <templatestyles src="Template:Hidden begin/styles.css"/>
For its immensely varied and textured use of language that is both an authentic and an energetic reflection of the different sections of life shown in the film: the language of the village, of politicians, of the scholar and much else. His dialogues – robustly rustic yet influenced by urban vocabulary – is characteristic of the Indian scene today.
2012
(60th)		 Sujoy Ghosh[46] Kahaani Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
A well structured screenplay that formed the heart of an edge of the seat suspense film.
2012
(60th)		  • Bhavesh Mandalia
 • Umesh Shukla[46]		 OMG – Oh My God! Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
A carefully crafted screenplay dealing with a social satire with shades of oriental philosophy.
2012
(60th)		 Anjali Menon[46] Ustad Hotel Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
Easy flowing, yet down to earth dialogues complement the well mounted entertainer with a social message.
2013
(61st)		 P. Sheshadri[47] December-1 Kannada <templatestyles src="Template:Hidden begin/styles.css"/>
For its kaleidoscopic variety that uses realism and colloquialism that is soaked in a contemporary flavour.
2013
(61st)		 Panchakshari[47] Prakruti Kannada <templatestyles src="Template:Hidden begin/styles.css"/>
For retaining the concerns and values of an original work by a celebrated author while adapting it into the cinematic idiom.
2013
(61st)		 Sumitra Bhave[47] Astu Marathi <templatestyles src="Template:Hidden begin/styles.css"/>
For an extraordinary blend in language and conversations that cover philosophy day-to-day anxieties and emotions in a most compelling manner.
2014
(62nd)		 Srijit Mukherji[48] Chotushkone Bengali <templatestyles src="Template:Hidden begin/styles.css"/>
Chotushkone for the masterful telling of a taut suspense thriller which weaves a sinister web around the journey and lives of four egotistical characters..
2014
(62nd)		 Joshy Mangalath[48] Ottaal Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
Ottal for beautifully transposing Anton Chekov’s short story onto a canvas of nature that enhances the shades of the original.
2014
(62nd)		 Vishal Bhardwaj[48] Haider Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
Haider for the multi layered and resonant dialogues that evoke angst and passion with crispness and brevity.

References

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External links

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