National Film Award for Best Screenplay

National Film Award for Best Screenplay
National award for contributions to Indian Cinema
Awarded for	Best screenplay for a feature film for a year
Sponsored by	National Film Development Corporation of India
Reward(s)	Rajat Kamal (Silver Lotus) ₹2,00,000
First awarded	1967 (Screenplay Writer (Original)) 2009 (Screenplay Writer (Adapted)) 2009 (Dialogue)
Last awarded	2022
Most recent winner	Anand Ekarshi Screenplay Writer (Original) Arpita Mukherjee and Rahul V. Chittella (Dialogue)
Highlights
Total awarded	69 (Screenplay Writer (Original)) 18 (Screenplay Writer (Adapted)) 14 (Dialogue)
First winner	S. L. Puram Sadanandan

The National Film Award for Best Screenplay is one of the categories in 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). The award is announced for films produced in a year across the country, in all Indian languages. As of 2024^[update], the award comprises a Rajat Kamal, a certificate, and a cash prize of ₹2,00,000.^[1]

The National Film Awards were established in 1954 to "encourage production of the films of a high aesthetic and technical standard and educational and culture value" and also planned to include awards for regional films.^[2][3] The awards were instituted as the "State Awards for Films" but were renamed to "National Film Awards" at the 15th National Film Awards in 1967 and a new category of award for Best Screenplay was introduced, presented with a plaque and a cash prize.^[4] At the 57th National Film Awards in 2009, the Screenplay award was reclassified into three different awards: Screenplay Writer (Original), Screenplay Writer (Adapted), and Dialogues.^[5] Although the Indian film industry produces films in around twenty languages and dialects,^[6] as of 2022 edition, the seventy-three unique writers who have been awarded, have worked in nine major languages: Hindi (twenty awards), Malayalam (twelve awards), Bengali (eleven awards), Tamil (eight awards), Marathi (seven awards), Kannada (five awards), Telugu (three awards), English (two awards), Sanskrit and Assamese (one award each).

The inaugural award, in 1967, of this category was presented to S. L. Puram Sadanandan for the Malayalam film Agniputhri.^[4] No award was presented at the 23rd National Film Awards (1975).^[7] As of 2016^[update], Malayalam author and screenplay writer M. T. Vasudevan Nair holds the record of winning maximum awards in category with four wins for the films: Oru Vadakkan Veeragadha (1989), Kadavu (1991),^[8] Sadayam (1992),^[9] and Parinayam (1994).^[10] Bengali filmmaker Satyajit Ray was presented the award in 1993 posthumously for the film Uttoran;^[11] he had earlier received awards for Pratidwandi (1970) and Sonar Kella (1974).^[12][13] At the 59th National Film Awards in 2011, Girish Kulkarni was awarded both the Best Actor and Best Dialogue Awards for the Marathi film Deool. The film was itself was adjudged the Best Feature Film.^[14] In 2015 at the 63rd ceremony, the awards for both Original Screenplay and Dialogue were jointly presented to Juhi Chaturvedi and Himanshu Sharma for their films Piku and Tanu Weds Manu: Returns, respectively.^[15]

As of 2022^[update], sixty-nine awards have been presented for Original Screenplay writing, eighteen for Adapted Screenplay writing, and fourteen for dialogue.

Award

The first recipient of the award, S. L. Puram Sadanandan, was presented with a plaque and ₹ 5000 cash prize.^[4] The award was revised in 1973 at the 21st ceremony to include ₹ 10,000 cash, a silver medal and a certificate. It was shared by Mrinal Sen and Ashish Burman for their Bengali film Padatik.^[16] At the 54th awarding ceremony in 2006, the next revision of the award was declared to include cash remuneration of ₹50,000 which was presented to Abhijat Joshi, Rajkumar Hirani and Vidhu Vinod Chopra for their Hindi film Lage Raho Munna Bhai in which Mahatma Gandhi's philosophy of non-violence was depicted.^[17] At the 70th National Film Awards (2022), the cash prize was revised to ₹2,00,000.^[18]

For fourteen times, multiple writers were awarded for their work in a single film; Mrinal Sen and Ashish Burman for Padatik (1973), Satyadev Dubey, Shyam Benegal, and Girish Karnad for Bhumika (1977), T. S. Ranga and T. S. Nagabharana for Grahana (1978), Ashok Mishra and Saeed Akhtar Mirza for Naseem (1995), Manoj Tyagi and Nina Arora for Page 3 (2004), Prakash Jha, Shridhar Raghavan, and Manoj Tyagi for Apaharan (2005), Abhijat Joshi, Rajkumar Hirani, and Vidhu Vinod Chopra for Lage Raho Munna Bhai (2006), Gopal Krishan Pai and Girish Kasaravalli for Kanasemba Kudureyaneri (2009), P. F. Mathews and Harikrishna for Kutty Srank (2009), Anant Mahadevan and Sanjay Pawar for Mee Sindhutai Sapkal (2010), Vikas Bahl, Nitesh Tiwari, and Vijay Maurya for Chillar Party (2011), Bhavesh Mandalia and Umesh Shukla for OMG – Oh My God! (2012), Sriram Raghavan, Arijit Biswas, Yogesh Chandekar, Hemanth Rao, Pooja Ladha Surti for Andhadhun (2018), Sudha Kongara and Shalini Ushadevi for Soorarai Pottru (2020).^{[citation needed]}

Shyamoli Banerjee Deb, one of the jury members at the 53rd National Film Awards, filed a petition objecting to the selections in five awards categories; the Best Feature Film in Hindi, the Best First Film of a Director, the Best Actress, the Best Screenplay, and the Best Special Effects. Deb challenged the decision to confer the award to Prakash Jha, Shridhar Raghavan, and Manoj Tyagi for the Hindi film Apaharan and claimed that the film was not in the primary selection list. The Delhi High Court put a stay on the announcement and requested a reply from the Directorate of Film Festivals.^[19] Fourteen months later, Justice B. D. Ahmed removed the stay and the award was announced for Apaharan.^[20][21][22]

Winners

Following are the award winners over the years:

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

List of award recipients, showing the year (award ceremony), film(s), language(s) and citation
Year	Recipient(s)	Film(s)	Language(s)	Citation	Refs.
1967 (15th)	S. L. Puram Sadanandan	Agniputhri	Malayalam	–	[4]
1968 (16th)	Pandit Anand Kumar	Anokhi Raat	Hindi	–	[23]
1969 (17th)	Puttanna Kanagal	Gejje Pooje	Kannada	–	[24]
1970 (18th)	Satyajit Ray	Pratidwandi	Bengali	–	[12]
1971 (19th)	Tapan Sinha	Ekhonee	Bengali	–	[25]
1972 (20th)	Gulzar	Koshish	Hindi	–	[26]
1973 (21st)	Mrinal Sen	Padatik	Bengali	–	[16]
	Ashish Burman
1974 (22nd)	Satyajit Ray	Sonar Kella	Bengali	–	[13]
1975 (23rd)	No Award				[7]
1976 (24th)	Vijay Tendulkar	Manthan	Hindi	–	[27]
1977 (25th)	Satyadev Dubey	Bhumika	Hindi	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.	[28]
	Shyam Benegal
	Girish Karnad
1978 (26th)	T. S. Ranga	Grahana	Kannada	For Maintaining taunt narrative line without resorting to melodrama and retaining a film grip on the central idea in an action packed film.	[29]
	T. S. Nagabharana
1979 (27th)	Sai Paranjpye	Sparsh	Hindi	–	[30]
1980 (28th)	Mrinal Sen	Akaler Sandhane	Bengali	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.	[31]
1981 (29th)	K. Balachander	Thanneer Thanneer	Tamil	For translating the suffering of the people in drought-affected areas into a gripping visual narrative.	[32]
1982 (30th)	Mrinal Sen	Kharij	Bengali	For its economy of expression in the treatment of a sensitive theme.	[33]
1983 (31st)	G. V. Iyer	Adi Shankaracharya	Sanskrit	For its rich texture, lyricism and cinematic elegance in its presentation of Shankaracharya as an embodiment of greatness.	[34]
1984 (32nd)	Adoor Gopalakrishnan	Mukhamukham	Malayalam	–	[35]
1985 (33rd)	Bhabendra Nath Saikia	Agnisnaan	Assamese	For the powerful rendering of the saga of a woman who goes through the revolution against the prevailing social mores and comes to terms with herself.	[36]
1986 (34th)	Buddhadeb Dasgupta	Phera	Bengali	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.	[37]
1987 (35th)	Adoor Gopalakrishnan	Anantaram	Malayalam	For the precision in structuring a very complex narrative content requiring both exceptional dramatic and literary skills.	[38]
1988 (36th)	Arundhati Roy	In Which Annie Gives It Those Ones	English	For capturing the anguish prevailing among students of professional institutions.	[39]
1989 (37th)	M. T. Vasudevan Nair	Oru Vadakkan Veeragatha	Malayalam	For the gripping plot, clearly etched characterisations and the brilliant portrayal of life in Kerala a few hundred years ago.	[40]
1990 (38th)	K. S. Sethumadhavan	Marupakkam	Tamil	For depicting a simplistic story, capturing the various levels of philosophy, psychology, tradition and relationships perfectly.	[41]
1991 (39th)	M. T. Vasudevan Nair	Kadavu	Malayalam	For its sensitive and poetic treatment of disillusionment of an underprivileged adolescent.	[8]
1992 (40th)	M. T. Vasudevan Nair	Sadayam	Malayalam	For an extremely well structured script.	[9]
1993 (41st)	Satyajit Ray (Posthumously)	Uttoran	Bengali	For designing and structuring a screenplay from an imaginative and aesthetic angle, with a superb control over the unity of impressions.	[11]
1994 (42nd)	M. T. Vasudevan Nair	Parinayam	Malayalam	For his masterly use of fiction in cinema, reconstructing pre-1940s Kerala through sharply defined characters and remarkable control over dialogue.	[10]
1995 (43rd)	Ashok Mishra	Naseem	Hindi	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.	[42]
	Saeed Akhtar Mirza
1996 (44th)	Agathiyan	Kadhal Kottai	Tamil	For tightly knit and smooth flowing plot with excellent dialogues and razor-sharp tuning.	[43]
1997 (45th)	Rituparno Ghosh	Dahan	Bengali	For tactfully crafting a sensitive theme that dwells upon an incident which raises issues of social responsibility and personal awareness.	[44]
1998 (46th)	Ashok Mishra	Samar	Hindi	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.	[45]
1999 (47th)	Madampu Kunjukuttan	Karunam	Malayalam	For expressing with extreme economy and skilful cinematic treatment a story based on a sensitive screenplay woven around an old couple.	[46]
2000 (48th)	Bharathiraja	Kadal Pookkal	Tamil	For focusing, in present times of degeneration, on love, sacrifice and family values.	[47]
2001 (49th)	G. Neelakanta Reddy	Show	Telugu	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.	[48]
2002 (50th)	Aparna Sen	Mr. and Mrs. Iyer	English	For its fluid narration of the nuances of an ambiguous relationship in troubled times.	[49]
2003 (51st)	Gautam Ghose	Abar Aranye	Bengali	For weaving together the strands of time creating a resonant dialogue between the past and the present.	[50]
2004 (52nd)	Manoj Tyagi	Page 3	Hindi	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.	[51]
	Nina Arora
2005 (53rd)	Prakash Jha	Apaharan	Hindi	For creating a crisp screenplay that is riveting and renders pace to the entire film.	[20]
	Shridhar Raghavan
	Manoj Tyagi
2006 (54th)	Abhijat Joshi	Lage Raho Munnabhai	Hindi	For the original vision with which Gandhi's philosophy of non-violence is given life in popular parlance.	[17]
	Rajkumar Hirani
	Vidhu Vinod Chopra
2007 (55th)	Feroz Abbas Khan	Gandhi, My Father	Hindi	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.	[52]
2008 (56th)	Sachin Kundalkar	Gandha	Marathi	For its remarkable integration of three different plots using the sense of smell at as a liet motif [sic] to focus sensitively on human relationships.	[53]
2009 (57th)	P. F. Mathews	Kutty Srank	Malayalam	For the mysterious narrative that weaves together multiple perspectives to create a coherent whole, and yet leaves a haunting ambiguity.	[5]
	Harikrishna
	Gopalakrishna Pai	Kanasemba Kudureyaneri	Kannada	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.
	Girish Kasaravalli
	Pandiraj	Pasanga	Tamil	For the conversational quality with its cutting edge wit and life like freshness.
2010 (58th)	Vetrimaaran	Aadukalam	Tamil	For its kaleidoscopic variety that uses realism, tradition and contemporaneity, soaked in local flavour on an infinite canvas.	[54]
	Anant Mahadevan	Mee Sindhutai Sapkal	Marathi	For retaining the concerns and values of a biographical account while translating it into the cinematic medium and honouring the essence of the original.
	Sanjay Pawar
	Sanjay Pawar	Mee Sindhutai Sapkal	Marathi	For bringing to life the textures of various characters through articulating their emotion and thought process.
2011 (59th)	Vikas Bahl	Chillar Party	Hindi	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.	[14]
	Nitesh Tiwari
	Vijay Maurya
	Avinash Deshpande Nigdi	Shala	Marathi	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.
	Girish Kulkarni	Deool	Marathi	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	Kahaani	Hindi	A well structured screenplay that formed the heart of an edge of the seat suspense film.	[55]
	Bhavesh Mandalia	OMG - Oh My God!	Hindi	A carefully crafted screenplay dealing with a social satire with shades of oriental philosophy.
	Umesh Shukla
	Anjali Menon	Ustad Hotel	Malayalam	Easy flowing, yet down to earth dialogues complement the well mounted entertainer with a social message.
2013 (61st)	P. Sheshadri	December-1	Kannada	For its kaleidoscopic variety that uses realism and colloquialism that is soaked in a contemporary flavour.	[56]
	Panchakshari	Prakruti	Kannada	For retaining the concerns and values of an original work by a celebrated author while adapting it into the cinematic idiom.
	Sumitra Bhave	Astu	Marathi	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	Chotushkone	Bengali	Chotushkone for the masterful telling of a taut suspense thriller which weaves a sinister web around the journey and lives of four egotistical characters.	[57]
	Joshy Mangalath	Ottaal	Malayalam	Ottal for beautifully transposing Anton Chekov’s short story onto a canvas of nature that enhances the shades of the original.
	Vishal Bhardwaj	Haider	Hindi	Haider for the multi layered and resonant dialogues that evoke angst and passion with crispness and brevity.
2015 (63rd)	Juhi Chaturvedi	Piku	Hindi	For effortless movement of the plot structure, and natural repartees which happens in a delightful love/ hate relationship of a father and daughter.
	Himanshu Sharma	Tanu Weds Manu Returns	Hindi	For The writer's interpretation of love story set in a small town, becomes populated with interesting characters and their dialogues and dialects.
	Vishal Bhardwaj	Talvar	Hindi	For the dramatic structure devised by this writer effectively mirrors the tragedy of a family when their daughter is found murdered.
2016 (64th)	Syam Pushkaran	Maheshinte Prathikaaram	Malayalam	The screenplay interweaves the various idiosyncrasy of a small town near Idukki river.	[58]
	Sanjay Krishnaji Patil	Dashakriya	Marathi	The film brings out a semblance of 'time' and 'place' specified in the novel by Baba Bhand.
	Tharun Bhascker Dhaassyam	Pelli Choopulu	Telugu	The film has incorporated a Modern, Witty and 'on-your-face' dialogue that too with the local flavor.
2017 (65th)	Sajeev Pazhoor	Thondimuthalum Driksakshiyum	Malayalam		[59]
	Jayaraj	Bhayanakam	Malayalam
	Sambit Mohanty (posthumously)	Hello Arsi	Oriya
2018 (66th)	Rahul Ravindran	Chi La Sow	Telugu	The screenplay is modern take on the traditional custom of arranged marriage.
	Sriram Raghavan	Andhadhun	Hindi	Crisp and intriguing story that keeps the audiences on tenterhooks.	[60]
	Arijit Biswas
	Yogesh Chedekar
	Hemanth Rao
	Pooja Ladha Surti
	Churni Ganguly	Tarikh	Bengali	Deep meaningful conversations that explore interpersonal relationships.
2019 (67th)	Kaushik Ganguly	Jyeshthoputro	Bengali	For capturing the complexities of human relationships in a broken family slowly unraveling the jealousies and insecurities within the family in an unhurried pace keeping the audience intrigued.	[61]
	Srijit Mukherji	Gumnaami	Bengali	Intricately woven screenplay that went through a series and layers of interviews & incidents unfolding the mystery surrounding the controversial disappearance & death of Netaji Subhas Chandra Bose.
	Vivek Ranjan Agnihotri	The Tashkent Files	Hindi	For writing apt dialogues for convincing arguments of members of the committee that was formed to find out the facts about the mysterious death of Sri Lal Bahadur Shastri.
2020 (68th)	Sudha Kongara	Soorarai Pottru	Tamil	For the construction of an engrossing screenplay that weaves through the ups and downs of the character of the protagonist.
	Shalini Ushadevi
	Madonne Ashwin	Mandela	Tamil	For using crispy dialogues filled with wit and humour to bring alive the subliminal comic fervour to the fore.
2021 (69th)	Shahi Kabir	Nayattu	Malayalam	–
	Sanjay Leela Bhansali	Gangubai Kathiawadi	Hindi	–
	Utkarshini Vashishtha
	Utkarshini Vashishtha	Gangubai Kathiawadi	Hindi	–
	Prakash Kapadia
2022 (70th)	Anand Ekarshi	Aattam	Malayalam
	Arpita Mukherjee	Gulmohar	Hindi
	Rahul V. Chittella

References

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External links

• Official Page for Directorate of Film Festivals, India
• National Film Awards Archives