| 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)|Telephone Ni Taruni]] (1926), pioneering location shooting at the Grant Road Telephone Exchange in Bombay, and [[Bhaneli Bhamini (1927)|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 [[ |
| | 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)|Telephone Ni Taruni]] (1926), pioneering location shooting at the Grant Road Telephone Exchange in Bombay, and [[Bhaneli Bhamini (1927)|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 [[http://en.wikipedia.org/wiki/JBH_Wadia|J.B.H. Wadia]] and later ran a film processing laboratory. The two Devares co-directed the Marathi film Raigad. |