| National Film Award for Best Production Design | |
|---|---|
| National award for contributions to Indian Cinema | |
| Sponsored by | Directorate of Film Festivals |
| Formerly called | National Film Award for Best Art Direction (1979–2010) |
| Reward(s) |
|
| First awarded | 1979 |
| Last awarded | 2020 |
| Most recent winner | Anees Nadodi |
| Highlights | |
| Total awarded | 43 |
| First winner | Jayoo Patwardhan |
The National Film Award for Best Production Design 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 award was instituted in 1979, at 27th National Film Awards as National Film Award for Best Art Direction, and awarded annually for films produced in the year across the country, in all Indian languages; Hindi (18 awards), Tamil (6 awards), Malayalam (6 awards), Bengali (3 awards), Kannada, Urdu, English, Marathi (two each), Telugu, Gujarati, Punjabi, Konkani (one Each).
The award renamed as National Film Award for Best Production Design from the 57th National Film Awards in 2011.[1][2]
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. |
| 1979 (27th) |
Jayoo Patwardhan | 22 June 1897 | Marathi | – | [3] |
| 1980 (28th) |
Meera Lakhia | Bhavni Bhavai | Gujarati |
For perfectly creating the glamour of the royal palace juxtaposed with the grim austerity of hutments, for successfully providing a period touch down to the smallest details, for providing a stamp of authenticity to the film.
|
[4] |
| 1981 (29th) |
Manzur | Umrao Jaan | Urdu |
For re-creating the sets of the Lucknow Kothas and aristocratic homes with an unerring sense of the historical period portrayed.
|
[5] |
| 1982 (30th) |
Nitish Roy | Kharij | Bengali |
For recreating milieu with delicate details.
|
[6] |
| 1983 (31st) |
Nitish Roy | Mandi | Hindi |
For the inventive creation of a backdrop which admirably complemented the varying moods of the film.
|
[7] |
| 1984 (32nd) |
Nachiket Patwardhan | Utsav | Hindi | – | [8] |
| Jayoo Patwardhan | |||||
| 1985 (33rd) |
Sham Bhutker | Rao Saheb | Hindi |
For the authentic creation of a setting of the early years of the century.
|
[9] |
| 1986 (34th) |
P. Krishnamoorthy | Madhvacharya | Kannada |
For effectively recreating the era of Madhvacharya.
|
[10] |
| 1987 (35th) |
Thota Tharani | Nayakan | Tamil |
For interpreting the visual content of the film as authentically as possible, both in the design and construction of the sets and the colour schemes, to create the appropriate atmosphere and character of the film.
|
[11] |
| 1988 (36th) |
T. Vaikundam | Daasi | Telugu |
For his minute care and concern for detail of prop and decor, creating a period locale which becomes an amalgamated part of the film enhancing its aesthetic value.
|
[12] |
| 1989 (37th) |
P. Krishnamoorthy | Oru Vadakkan Veeragatha | Malayalam |
For adding to the aesthetic value of the film as a whole by carefully recreating the essence of the reality of a bygone era in Kerala with minute attention to details of pros and decor.
|
[13] |
| 1990 (38th) |
Nitish Roy | Lekin... | Hindi |
For maintaining the era, etching the characters against the canvas, with perfect color, design and execution.
|
[14] |
| 1991 (39th) |
Samir Chanda | Rukmavati Ki Haveli | Hindi |
For creating an authentic and real setting, matching the mood and manner of the film.
|
[15] |
| 1992 (40th) |
Samir Chanda | Rudaali | Hindi |
For its realistic recreation of the desert scape, with its requisite architectural structures, both opulent and humble.
|
[16] |
| 1993 (41st) |
Suresh Sawant | Muhafiz | • Hindi • Urdu |
For recreating architecture, landscape and interiors of exceptional beauty and cinematic integrity, synchronised to perfection with the thematic content of the protagonist's search for the poetry of an ailing maestro.
|
[17] |
| 1994 (42nd) |
Sabu Cyril | Thenmavin Kombath | Malayalam |
For creating an appropriate space for a romantic fantasy in cinema-scope in tandem with the cinematography.
|
[18] |
| 1995 (43rd) |
Sabu Cyril | Kalapani | Malayalam |
For his apt and outstanding recreation of the early decades of this century, with a remarkably detailed work of mis-en-scene.
|
[19] |
| 1996 (44th) |
Thota Tharani | Indian | Tamil |
For erection of sets and selection of locations perfectly retaining the period depicted in the story and enhancing the huge canvas of the film.
|
[20] |
| 1997 (45th) |
Ramesh Desai | Thaayi Saheba | Kannada |
For his meticulous attention to minute details creating the exact atmosphere and aura of the film's period lifestyle and its changing perspective decade to decade.
|
[21] |
| 1998 (46th) |
Nitin Chandrakant Desai | Dr. Babasaheb Ambedkar | English |
The film covers a large time span from the pre-electricity age to post independence India. The scene, both indoor and outdoor move effortlessly around rural, urban, Indian and foreign locales and blur the distinction between sets and locations – with the aid of faultless camerawork, the art direction almost single handedly creates the entire period mood and feel of the film.
|
[22] |
| 1999 (47th) |
Nitin Chandrakant Desai | Hum Dil De Chuke Sanam | Hindi |
For recreating the haveli ambience and matching it with the existing structure used, the décor of the sets and for recreating the best of life styles of the region.
|
[23] |
| 2000 (48th) |
P. Krishnamoorthy | Bharati | Tamil |
For aesthetically recreating the period of early twentieth century taking great care in selecting authentic properties of the time to enhance the décor of both interiors as well as exteriors, thus bringing alive Tamilnadu of that period.
|
[24] |
| 2001 (49th) |
Nitin Chandrakant Desai | Lagaan | Hindi |
For aesthetically recreating the pre independence period village with authentic details.
|
[25] |
| 2002 (50th) |
Nitin Chandrakant Desai | Devdas | Hindi |
For creating an evocative visual setting for the romantic drama.
|
[26] |
| 2003 (51st) |
Indranil Ghosh | Chokher Bali | Bengali |
For his muted recreation of a period and its ambiance.
|
[27] |
| Sharmishta Roy | Meenaxi: A Tale of Three Cities | Hindi |
For creating a colourful ambiance which effectively supported the narrative.
| ||
| 2004 (52nd) |
Samir Chanda | Netaji Subhas Chandra Bose: The Forgotten Hero | • English • Hindi |
For effectively recreating the period prior to the second world war across nations.
|
[28] |
| 2005 (53rd) |
C. B. More | Taj Mahal: An Eternal Love Story | Hindi |
For effectively recreating the mughal period and rendering life to an era.
|
[29] |
| 2006 (54th) |
Rashid Rangrez | Waris Shah: Ishq Daa Waaris | Punjabi |
For the authentic recreation of a historic and culturally rich era.
|
[30] |
| 2007 (55th) |
Sabu Cyril | Om Shanti Om | Hindi |
For creating authentic film settings of 1970s and recreating them in a dilapidated condition a generation later.
|
[31] |
| 2008 (56th) |
Gautam Sen | Firaaq | Hindi |
For its perfect use of props and choice of colours to enhance the ambience of a post-riots.
|
[1] |
| 2009 (57th) |
Samir Chanda | Delhi-6 | Hindi |
For a very convincing match of actual locations with detailed, recreated sets.
|
[2] |
| 2010 (58th) |
Sabu Cyril | Enthiran | Tamil |
For the style and finesse realised in the creation of a set design that is coherent with the futuristic visual style of the narrative.
|
[32] |
| 2011 (59th) |
Indranil Ghosh | Noukadubi | Bengali |
For a detailed visualisation of the Bengal renaissance through a very intricate weaving of sets, props and the colours that epitomise such an era. He brings in his expertise and knowledge of that period and deftly merges it with the tragic plight of star-crossed lovers in this famous Tagorean tragedy. Recreating locations without making them too elaborate is a highlight of this film.
|
[33] |
| 2012 (60th) |
Boontawee 'Thor' Taweepasas | Vishwaroopam | Tamil |
For a subject that transcends different times and space, the commendable production design has played a huge part in making this film what it is.
|
[34] |
| Lalgudi N. Ilayaraja | |||||
| 2013 (61st) |
Ashim Ahluwalia | Miss Lovely | Hindi |
For a style and finesse realized by authentic recreating an era in a not too distant past and dressing up the location that is coherent with the visual style of the narrative.
|
[35] |
| Tabasheer Zutshi | |||||
| Parichit Paralkar | |||||
| 2014 (62nd) |
Aparna Raina | Nachom-ia Kumpasar | Konkani |
For convincingly recreating spaces from a different era and with minute attention to detail.
|
[36] |
| 2015 (63rd) |
Shriram Iyengar | Bajirao Mastani | Hindi |
For the inventive use of spaces, props and set decoration to provide a dramatic setting for a grand historical spectacle.
|
[37] |
| Saloni Dhatrak | |||||
| Sujeet Sawant | |||||
| 2016 (64th) |
Subrata Chakraborthy | 24 | Tamil |
The total production value of the film is more than its art effects, locations, gadgets etc. whereby giving it an organic whole.
|
[38] |
| Shreyas Khedekar | |||||
| Amit Ray | |||||
| 2017 (65th) |
Santhosh Raman | Take Off | Malayalam | – | |
| 2018 (66th) |
Vinesh Banglan | Kammara Sambhavam | Malayalam |
Preparing relevant terrains and sets of different periods and cultures.
|
[39] |
| 2019 (67th) |
Nilesh Wagh | Anandi Gopal | Marathi |
For re creating the late 19th century Maharashtra and it's British lifestyle through its location choices, properties and enabling us to drive into its period reality.
|
[40] |
| Sunil Nigwekar | |||||
| 2020 (68th) |
Anees Nadodi | Kappela | Malayalam |
For the life like ambience and meticulous handling of the various visual components.
|
[41] |
