The National Film Award for Best Bengali Feature Film 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). Since the 70th National Film Awards, the name was changed to "Best Bengali Feature Film".[1]
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. 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 Chitta Bose, the 1954 film Chheley Kaar was honoured with the first president's silver medal for Best Feature Film in Bengali. Certificate of Merit for Second and Third Best Feature Films in Bengali were received by Jadubhatta and Annapurnar Mandir respectively. Following is the list of Silver Lotus Award (Rajat Kamal) recipient films produced in Bengali language.
Winners
Award includes 'Rajat Kamal' (Silver Lotus Award) and cash prize. Following are the award winners over the years:
Awards legends
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President's Silver Medal for Best Feature Film
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Certificate of Merit for the Second Best Feature Film
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Certificate of Merit for the Third Best Feature Film
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Certificate of Merit for the Best Feature Film
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Indicates a joint award for that year
List of award films, showing the year (award ceremony), producer(s), director(s) and citation
For creating through an event of the early 19th century a universal parable of exploitation, life and death with an underlying faith in the inevitability of change.
For its most unusual and daring treatment of a very real socio-political issue in a metaphoric manner – the alienation of a freedom fighter from his country, now changed beyond recognition.
For a stylised and innovative period rendition of complex social relations in 18th century Bengal, integrating performances with camera movements and mise en scene.
For its contemporary form and thematic content, and subtle handling of the complex subject of a broken marriage. The film has universal appeal which has great relevance in today's society.
For profiling the dilemma of a film actress, at a delicate point in her life. Rejected by her lover in love with another woman, asukh is an internalised study of an actress coming to terms with multiple pressures in her life.
For depicting the changing temper of society and the changing balances of human relationships very sensitively portrayed. The film highlights the changing equations between a mother-in-law and daughter-in-law, who begin as adversaries and become confidantes.
The film through the seen and unseen world of the protagonist tries to explore the existential dilemma of modern times which is reflected in the inexorable flow of time and intertwined into a mixed metaphor of modern allegories.
For showing the plight of an educated woman who seeks her own identity within the trappings of her traditional role of mother & wife. A contemporary socially relevant issue has been handled with great sensitivity.
For the subtle portrayal of an endearing love story in the time of cultural conflicts. It is a sincere attempt to present the personal tragedy of the emigrant commoner caught in the crossfire of international wars.
For presents pop music as a force that drives, destroys and binds relationships. The film's character's carry forward this one passion in life as in death. Through the film's visual texture and locales, we not only see the world of the protagonist Abani Sem, we also enter his psyche. Anjan Dutt's bitter–sweet work portrays in vivid colours the pop music scene in Bengal today, as well as the on-the-edge lives lived by its practitioners.
A brilliantly conceived off-beat film on the obsession with ambient sound and its devastating effects on the life of a foleyartist, is a unique cinematic experience.
For its poignant articulation of the suffocation one experiences when exiled in a land that is not one's own, as a price that is paid for asserting one's right to freedom of expression.
