Once upon a time, the National Film Awards held an unshakeable reputation for honoring artistic excellence, cultural value, and meaningful storytelling.
These awards were not handed out based on box office numbers or social media trends but were rooted in artistic merit and national significance.
Receiving an award from the President of India was not just a personal achievement — it was a national honor, a recognition of meaningful contributions to Indian cinema.
Awardees were expected to be role models, not just in their craft, but in their character and message to society.
Unfortunately, that sanctity now seems to be slipping.
In recent years, we've seen a shift in the selection pattern that mirrors the approach of commercial awards like SIIMA, IIFA, and Filmfare — platforms traditionally driven by popularity, public appeal, and glamour.
While there’s nothing inherently wrong with those awards, the National Awards were always a cut above — untainted by the commercial gloss, standing firm on the ground of substance and integrity.
Take, for instance, the recent award given to Allu Arjun for Pushpa. It’s a film that glorifies a smuggler as a hero — hardly a role model for the youth or a symbol of national values.
Similarly, Animal, a film marred by excessive violence, vulgarity, and questionable messaging, won recognition in technical categories.
Even Baby, which contains foul language and arguably promotes anti-social behavior, was awarded for screenplay. Can these films truly be considered national models of cinematic excellence?
This is not to say that there weren’t any deserving winners. The award to the lyricist of Balagam, for instance, is a breath of fresh air. That film beautifully showcased the lesser-known traditions and cultural nuances of rural Telangana — a narrative that deserves national attention.
Likewise, the playback singer from Baby earned their recognition with a stellar vocal performance that resonated deeply with audiences.
However, it’s disappointing to see that films like The GOAT Life, which demanded intense physical and emotional dedication from actor Prithviraj Sukumaran, were overlooked.
The transformation and effort he put into the role were immense, and expectations were high for his name to be called. Instead, the award went to Shah Rukh Khan for Jawan — a performance that, while crowd-pleasing, didn’t reflect the same artistic stretch.
Vikrant Massey, too, was deserving — but still, not on the same level as Prithviraj’s immersive performance.
Then there’s the case of Bhagavanth Kesari, a commercial entertainer awarded Best Telugu Film. Aside from a brief subplot addressing the sensitive topic of ‘good touch and bad touch’, the film largely revolved around bloodshed and violence.
Is that truly the best our regional cinema has to offer? In fact, the most deserving one is 'Balagam' under the Best Film- Telugu Category.
What we’re witnessing is a slow erosion of credibility. The National Awards were never meant to mirror mass tastes or reward market success. They were established to celebrate cinema that elevates our cultural discourse and reflects our national ethos.
If the current trend continues — where influence, popularity, or political leverage shape jury decisions — we risk losing one of India’s most revered institutions of artistic recognition.
It is high time for scrutiny and transparency. We must ask hard questions like On what grounds are these awards being decided? And most importantly, are we rewarding cinema that uplifts and enlightens — or just that which entertains?
The National Film Awards must reclaim their legacy. The future of meaningful Indian cinema depends on it.
Usha Chowdhary
