[en] | National Film Award for Best Music Direction

The National Film Award for Best Music Direction (the Silver Lotus Award) is an honour presented annually at the National Film Awards by the National Film Development Corporation of India to a musician who has composed the best score for films produced within the Indian film industry.[1] The award was first introduced at the 15th National Film Awards in 1967. At the 42nd National Film Awards, an award for “Best Background Score” was instituted. It was however discontinued after that, and it was not until 2009 that the category was re-introduced. Later, during the 70th National Film Awards both the categories — Best Background Score and Best Background Music were clubbed together and named as “Best Background Music”. A total of 51 awards—including award for Best Background music—to 40 different composers.[2]

National Film Award for Best Music Direction
National award for contributions to Indian Cinema
Pritam for Music Album & A. R. Rahman for Background Music
Awarded forBest Music Direction and background score for a feature film of the year
Sponsored byNational Film Development Corporation of India
Reward(s)
  • Rajat Kamal (Silver Lotus)
  • ₹2,00,000
First awarded1967 (Songs)
1994 (Background music)
Last awarded2022
Most recent winnerPritam (Music Album- Songs)
A. R. Rahman (Background music)
Highlights
Most awardsA. R. Rahman (7)
Total awarded53 (Songs)
10 (Background music)
First winnerK. V. Mahadevan

Although the Indian film industry produces films in around 20 languages and dialects,[1] the recipients of the award include those who have worked in seven major languages: Hindi (19 awards), Tamil (11 awards), Telugu (10 awards), Malayalam (9 awards), Bengali (7 awards), Kannada (5 awards) and Marathi (2 awards).

The first recipient of the award was K. V. Mahadevan who was honoured for his composition in the Tamil film Kandan Karunai (1967).[3] A. R. Rahman is the most frequent winner having won 7 awards. Ilaiyaraaja has won it 5 times. Jaidev and Vishal Bhardwaj have won it three times each.[4] Four musicians—B. V. Karanth, K.V. Mahadevan, Satyajit Ray, Johnson and M. M. Keeravani have won the award twice each. Ilaiyaraaja is the only composer to have won the award for achieving in three different languages — Telugu, Tamil and Malayalam. While A. R. Rahman won the award for performing in two different languages — Tamil and Hindi (including one for his debut film) Roja (1992).[5][a]

Johnson won the inaugural “Best Background Score” award—for Sukrutham—in 1994. When the award was reinstated in 2009, Ilaiyaraaja won it for the Malayalam film Pazhassi Raja.[8]

Winners

†Indicates winner for Best Background music
List of award recipients, showing the year (award ceremony), film(s), language(s) and citation
YearImageRecipient(s)Film(s)LanguageCitationRefs.
1967
(15th)		K. V. MahadevanKandan KarunaiTamil –[9]
1968
(16th)		 –Kalyanji AnandjiSaraswatichandraHindi –[10]
1969
(17th)		 –S. MohinderNanak Nam Jahaz HaiPunjabi –[11]
1970
(18th)		Madan MohanDastakHindi –[12]
1971
(19th)		 –JaidevReshma Aur SheraHindi –
1972
(20th)		Sachin Dev BurmanZindagi ZindagiHindi –[13]
1973
(21st)		Satyajit RayAshani SanketBengali –[14]
1974
(22nd)		 –Ananda ShankarChorusBengali –[15]
1975
(23rd)		Bhupen HazarikaChameli MemsaabAssamese –[16]
1976
(24th)		 –B. V. KaranthRishya ShringaKannada –[17]
1977
(25th)		 –B. V. KaranthGhatashraddhaKannada
For employing the resources of sacred and folk music with unerring skill and sensitivity so as to create an atmosphere of subdued pain and loneliness and to lead the poignant theme to its tragic denouement through the tortured process of its unfolding; for the modulation of effects in terms of sound, covering music in all its variegated range within their span, for heightening the mood in each sequence, almost imperceptibly; for creating art at its concealed best.
[18]
1978
(26th)		 –JaidevGamanHindi
For using the traditional light classical and folk music of U.P. to convey the nostalgia of rural migrants lost in a city. Music in Gaman is an integral part of the film.
[19]
1979
(27th)		 –K. V. MahadevanSankarabharanamTelugu –[20]
1980
(28th)		Satyajit RayHirak Rajar DesheBengali
For brilliant experimentation with different forms and modes of Indian music and for creating a mood of fantasy in a pleasing and harmonious style.
[21]
1981
(29th)		KhayyamUmrao JaanHindi
For a finely turned score which invokes the spirit of the period and for a felicitous use of music to enrich the central character of the film.
[22]
1982
(30th)		 –Ramesh NaiduMeghasandesamTelugu
For his use of classical music to enhance the aesthetic quality of the film.
[23]
1983
(31st)		IlaiyaraajaSaagara SangamamTelugu
For his lively, rich and vigorous recreation of traditional music composition and inventive musical ideas adapted to the visual demands of drama.
[24]
1984
(32nd)		 –JaidevAnkaheeHindi –[25]
1985
(33rd)		IlaiyaraajaSindhu BhairaviTamil
For innovative blending of folk and classical music which lends strength and power to the story.
[26]
1986
(34th)		M. BalamuralikrishnaMadhvacharyaKannada
For the effective use of classical music blended with folk music.
[27]
1987
(35th)		 –Vanraj BhatiaTamasHindi
For creating a thematic score on a heroic scale through melody and complex harmonic arrangements of a symphonic character to stress the human anguish during the holocaust that followed partition, helping greatly in defining the tragic dimensions of the events.
[28]
1988
(36th)		IlaiyaraajaRudra VeenaTelugu
For creating an innovative score which brings out the splendour of classical tradition and blends it beautifully with modern sensitibilities.
[29]
1989
(37th)		 –Sher ChoudhuryWosobipoKarbi
For depicting life in interior Assam with a unique background score.
[30]
1990
(38th)		Hridaynath MangeshkarLekin…Hindi
For using traditional tunes and instruments creatively, with litting melody and haunting perfection.
[31]
1991
(39th)		 –Rajat DholakiaDharaviHindi
For using music as an integral part of the film structure, furthering the meaning and dimensions of the theme.
[32]
1992
(40th)		A. R. RahmanRoja[a]Tamil
For the harmonious blend of western and Carnatic classical music in Roja, the separate music systems complementing each other without losing their own identities.
[33]
1993
(41st)		JohnsonPonthan MadaMalayalam
For his music, which exhibits imagination, competence and presentation of the changing contours of music from traditional to modern styles.
[34]
1994
(42nd)		Ravi
(As Bombay Ravi)		 • Sukrutham
 • Parinayam		Malayalam
For his melodious rendering of his tunes. The music in both the films exhibit originality and creatively highlights the entire mood of the two films, achieving musical harmony.
[35]
Johnson †SukruthamMalayalam
For scoring the background music.
1995
(43rd)		HamsalekhaSangeetha Sagara Ganayogi Panchakshara GavaiKannada
For his authentic utilisation of classical Indian music in both the Hindustani and Karnatic style and presenting a wholesome musical structure to the film.
[36]
1996
(44th)		A. R. RahmanMinsara KanavuTamil
For innovative compositions breaking all traditions, entering into new era.
[37]
1997
(45th)		M. M. KeeravaniAnnamayyaTelugu
For the film’s rich, classical music scores and its devotional fervor.
[38]
1998
(46th)		Vishal BhardwajGodmotherHindi
For the Hindi film Godmother where the narrative of the film and the music bring about an excellent blend of folk and modern music. It retains the fragrance of the soil of Gujarat.
[39]
1999
(47th)		Ismail DarbarHum Dil De Chuke SanamHindi
For an innovative score that blends in the entire spectrum of Indian music form Classical to folk to embellish the musical narrative.
[40]
2000
(48th)		Anu MalikRefugeeHindi
For a score that blends with the story and heightens its narrative. A great effort has been made to ensure that the compositions have all the ingredients of the music of the soul.
[41]
2001
(49th)		A. R. RahmanLagaanHindi
For a music score, that is both regional in character and popular in appeal bringing out the ethos of Saurashtra region.
[42]
2002
(50th)		A. R. RahmanKannathil MuthamittalTamil
For his original musical score highlighting the cultural conflicts and personal anguish in the story.
[43]
2003
(51st)		Shankar–Ehsaan–LoyKal Ho Naa HoHindi
For its wide range of styles and modes, enriching the themes of the film.
[44]
2004
(52nd)		VidyasagarSwarabhishekamTelugu
For the songs that are composed as per the situation and enrich the theme of the film. From the beginning to the end he has maintained traditional classical music and used Indian acoustic instruments thus bringing out the colour and flavour of Indian music.
[45]
2005
(53rd)		 –Lalgudi JayaramanSringaramTamil
For bringing alive an era of great musical and dance tradition through the deft use of Indian musical instruments.
[46]
2006
(54th)		Ashok PatkiAntarnadKonkani
For a judicious range of music from the classical to pop, elevating the film.
[47]
2007
(55th)		OuseppachanOre KadalMalayalam
For achieving through music the poignancy of the turmoil of unconventional love.
[48]
2008
(56th)		Ajay–AtulJogwaMarathi
For its well-researched use of traditional and folk music to reinforce the theme of the film.
[49]
2009
(57th)		Amit TrivediDev.DHindi
For the innovative composition that blend contemporary and folk sounds.
[50]
Ilaiyaraaja †Pazhassi RajaMalayalam
For creating epic grandeur by fusing symphonic orchestration with traditional Indian.
2010
(58th)		Vishal BhardwajIshqiyaHindi
For blending rustic flavour with the Indian classical tradition.
[51]
 –Isaac Thomas Kottukapally †Adaminte Makan AbuMalayalam
For minimalistic use of appropriate background score to nurture the essence of the narrative.
2011
(59th)		Neel DuttRanjana Ami Ar AshbonaBengali
For displaying a variety of contemporary musical forms that rock the city of Kolkata today. He virtually drives the narrative flow composing a variety of songs to portray the world of an ageing rock music performer who suffers from a deep feeling of inadequacy. The songs deal with the emotional and social challenges that beset the film’s protagonists.
[52]
 –Mayookh Bhaumik †LaptopBengali
For his original style in narrating the flow of events centred around a laptop. He brings in a new dimension with his unconventional musical renderings, using both live and electronic instruments to counterpoint the urban tragedies that accompany this peripatetic laptop. The music brings in a narrative element that resonates with contemporary problems in Kolkata, a city weighed down by its own contradictions.
2012
(60th)		 –Shailendra BarveSamhitaMarathi
Versatile and soulful presentation of songs based on Raagas, backed by Indian instrumentation arranged in a manner that enhances the film.
[53]
Bijibal †KaliyachanMalayalam
Fusion of native ensemble and percussions in a period setting is a challenge well-met by the background score.
2013
(61st)		Kabir SumanJaatishwarBengali
The music director has presented a rich variety of musical genres of Bengal with appropriate voices, instruments and orchestration..
[54]
Shantanu Moitra †Naa Bangaaru TalliTelugu
The music composer has kept a balance of music programming and regional acoustic instruments like Saraswati Veena, Mridangam, Ghatam, Morsing and voices to underline the theme of the film.
2014
(62nd)		Vishal BhardwajHaiderHindi
For developing the conflict of the inner and outer landscape through haunting music.
[55]
Gopi Sundar †1983Malayalam
For maintaining the tempo of the film with an in-sync background score.
2015
(63rd)		M. JayachandranEnnu Ninte MoideenMalayalam
Creating a haunting melodic composition, that resonates the tragic love story
[56]
Ilaiyaraaja †Tharai ThappattaiTamil
For effectively using folk musical instruments and melodies, to give a harmonic layer of meaning to the world of the characters.
2016
(64th)		Bapu Padmanabha †AllamaKannada
For adding soul to the film through Carnatic ragas.
[57]
AllamaKannada
For adding soul to the film through Carnatic ragas.
2017
(65th)		A. R. Rahman †Kaatru VeliyidaiTamil –[58]
MomHindi –
2018
(66th)		Sanjay Leela BhansaliPadmaavatHindi
All the songs lift the mood of the film and give a different dimension to the narrative.
[59]
Shashwat Sachdev †Uri: The Surgical StrikeHindi
For providing the right atmosphere for the film.
2019
(67th)		D. ImmanViswasamTamil
For compiling the rendition of the voice with musical instruments to create a pleasing atmosphere in the film.
–Prabuddha Banerjee †JyeshthoputroBengali
For the subtle scoring of background music which elevates the performances and the story-telling.
2020
(68th)		Thaman SAla VaikunthapurramulooTelugu
For the foot tapping songs of the film which reached the nook and corner.
[60]
G. V. Prakash Kumar †Soorarai PottruTamil
For the unique background score of the film which adds to the emotional and mood of the film.
2021
(69th)		Devi Sri PrasadPushpa: The RiseTelugu
For the song compositions that become an integral part of the film’s story telling, enhancing impact while leaving a lasting impression.
[61]
M. M. Keeravani †RRRTelugu
For the music composition that enhances the film’s visual narrative, creating a holistic cinematic experience.
2022
(70th)		PritamBrahmāstra: Part One – ShivaHindi[62]
A. R. Rahman †Ponniyin Selvan: ITamil

Notes

  1. ^ a b The jury of the 40th National Film Awards were tied between Rahman and Ilaiyaraaja—for Thevar Magan—before Balu Mahendra, the chairman voted in favour of Rahman.[6][7]

References

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Source: en.wikipedia.org