National Film Award for Best Editing

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).

National Film Award for Best Editing
National award for contributions to Indian Cinema
Awarded forBest film editing for the feature film for a year
Sponsored byNational Film Development Corporation of India
Reward(s)
  • Rajat Kamal (Silver Lotus)
  • ₹2,00,000
First awarded1976
Last awarded2022
Most recent winnerMahesh Bhuvanend
Highlights
Total awarded51
First winnerK. Babu Rao

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

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9 wins : A. Sreekar Prasad

4 wins : Renu Saluja

3 wins : Gangadhar Naskar

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

Recipients

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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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  1. ^ "27th National Film Awards". Archived from the original on 20 March 2012. Retrieved 10 July 2012.
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  43. ^ "67th National Film Awards" (PDF). Directorate of Film Festivals. Retrieved 30 May 2021.
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