| | 4 | Bombay-based cinematographer and director of the silent period; born in Bombay. Son of the court photographer Gopinath Devare. Studied photography and cinematography in Europe (1918-20); returned to India (1921) and worked briefly in his father’s studio before joining Kohinoor as a technician in the early 20s, where he worked with his cousin Gajanan Shyamrao Devare, also a cameraman and director. N.G. Devare has been credited with directing films he shot for Kanjibhai Rathod and Homi Master. He also shot Telephone Ni Taruni (1926), pioneering location shooting at the Grant Road Telephone Exchange in Bombay, and Bhaneli Bhamini and Gunsundari (both 1927). Turned director in 1927. Virtually ran Kohinoor when it became the employee-run Kohinoor U.A. (1928), establishing his own N.G. Devare Prod. in 1933, but the venture collapsed. Several film- makers were apprenticed to him, e.g. the then- cameraman V.M. Vyas for Zakhmi Jigar and Jaswantlal for Ulfat-e-Mohammed. Recorded his version of this controversial period in Kohinoor’s history and of the silent studios in the film Daily Mail. Co-directed a few Hindi and Marathi films in the late 30s and 40s with Homi Master (e.g. Punjab Lancers) and Sarpotdar (Sant Janabai). His cousin G.S. Devare had become a prominent cameraman with films such as Bhakta Vidur (1921), Kala Naag (1924), Fankdo Fituri and Lanka Ni Laadi (both 1925). As a director, G.S. Devare was associated with J.B.H. Wadia and later ran a film processing laboratory. The two Devares co-directed the Marathi film Raigad. |