本片是一部群星戏，讲述在印度的孟加拉省，一个贫穷的村落里住着一户人家，自以为学识过人的哈里是一家之主，他虽任职地主的会计，但他终日想着成为一个诗人。他在这方面没有出色的表现，甚至穷得将祖先的果园作借款的抵押品。他的妻子温柔贤惠，为了生活吃苦而毫无怨言。女儿与儿子也把吃从果园里偷来的果子当作一件乐事。有一天，哈里带着薪水回家，他们一家人大大庆贺一番。同住的老婆婆向他们借一块布料却被赶走，不久他的儿子和女儿发现老婆婆倒在森林里，已死去多时。哈里为了借贷到外面五个月毫无音信，而他的女儿因患重病而安然死去。哈里回来听此噩耗，便和妻子流着眼泪来到大森林里大声呼喊，发誓要改善生活，并迁往他处。天亮了，他带着全家人和简单的行李赶着牛车往拿勒斯城出发了。本片以一位不满十岁的少年的视线界来观赏人类与大自然生活的共通性，是本片最突出的地方。

转眼之间，阿普（Smaran Ghosal 饰）长大了，然而，生活却并没有因此而变得更加宽容。和父母搬去博纳斯之后没多久，阿普的父亲就永远的离开了他的家庭，就这样，阿普和母亲过起了相依为命的生活。
母亲希望阿普能够成为一名神父，但阿普却并不这么认为，他希望能够就读正规的学校。最终，母亲顺从了阿普的想法。阿普没有让母亲失望，他用出色的成绩和光明的前途向母亲证明了他的用功和努力。阿普得到了念大学的机会，但是，对于他贫困的家庭来说，这个消息既是喜讯，亦是噩耗，为此，阿普和母亲之间发生了激烈的争吵，这一次，在亲情和未来之间，阿普和母亲会做出怎样的选择呢？

　　阿普大学毕业了却找不到工作。正在彷徨郁闷时，一次偶然的机会，他遇到了昔日的同窗。同学有个温柔而聪明的妹妹，正符合阿普心目中理想伴侣的形象。近年来身体越来越衰弱的母亲一直托人带信希望他能早日成亲。阿普想自己现在虽然没有职业，但结婚的喜事一定会给母亲带来欢乐。妻子将来也一定会成为母亲的孝顺媳妇。于是他决定和未婚妻一起回家，在母亲面前举行婚礼。然而正在他筹备结婚钱款时，突然接到母亲亡故的噩耗。失去母亲的悲痛使他陷于惶惶之中，多亏未婚妻的温存劝慰，才使他从悲伤中挣脱出来。两人婚后开始急急寻找工作，但很快妻子因难产去世。奥普悲痛欲绝，新婚短暂的幸福转瞬即逝了。在这繁华的城市里，他没有工作，也没有家，只有痛苦的回忆。他决定去寻找最后的归宿地―――自己度过童年和少年时代的家乡。他孑然一身，回到那里，风景依旧，而人事全非。他跪在父母坟前，祈祷忏悔。他又到那池塘边，悼念姐姐，仿佛从远处传来过去姐弟二人的笑声，引得他热泪盈眶，哀恸不已。

雷艾（Chhabi Biswas 饰）出生于富贵之家中，世世代代都是坐拥着土地的地主阶级，雷艾自然继承了家族的财产，可是，他的心思却并不在好好经营这份财产之上。雷艾对音乐有着狂热的喜爱，常常斥巨资举办音乐会，请来大师名流进行演奏。就这样，上一代积攒下来的财富就在雷艾的一次又一次挥霍中越来越少。
马兴（Gangapada Basu 饰）是雷艾的死对头，他同样是一名音乐爱好者，两人互相攀比音乐会的排场，互相质疑彼此对于音乐的品味。为了战胜马兴，雷艾不顾拮据的经济状况大肆挥霍，甚至为了满足自己的虚荣而付出了家人的性命作为代价。最终，雷艾家破人亡，濒临疯狂的他在散尽了最后一笔钱后选择了死亡。

恰鲁拉达（Madhabi Mukherjee 饰）和丈夫结婚了，然而，令她没有想到的是，等待着自己的并非充满了幸福和快乐的婚姻生活。恰鲁拉达的丈夫是一名知识分子，虽然饱读诗书，但他选择将全部的精力投入到研究政治刊物之中，在他的思维里，妻子只需要料理好家事即可，并不需要自己的陪伴和理解。
随着时间的推移，恰鲁拉达和丈夫之间的关系越来越冷淡，她终日生活在孤独之中，内心里非常的苦闷。就在这个节骨眼上，丈夫的堂兄走近了恰鲁拉达的生活，他是一位热情洋溢的诗人，对生活充满了憧憬，在他的影响下，恰鲁拉达渐渐走出了忧郁，并且明白了如何追求心中的梦想。

改編自Prabhat Kumar Mukherjee的同名小說。Doyamoyee的丈夫在外地唸書，而她那位高權重的公公深信她是印度Kali女神的轉世，堅持媳婦必須受到敬仰。當她丈夫知道後返回家中，他嘗試讓父親理解，但父親卻無動於衷，對他來說，那些奇蹟痊癒的人，在在證明他所深信的是真的，但真相又是什麼？

这部讽刺故事发生在1856年殖民地印度的Lucknow。
Wazed Ali Shah是印度最后的一个自治王国的国王。他整天呆在自己的宫殿里，吟诗赏乐，跳舞嬉戏。东印度公司意欲控制这个富裕的国家，派了将军Outram暗地里来扫除吞并过程中的障碍。
与此同时，两个贵族，Mir和Mirza，沉浸在对象棋的热情中，对其他事不闻不问。他们不想被谁统治谁这样的小事所打扰。就在两个人下棋的时候，他们的婚姻趋向瓦解，国家的形势也越来越糟糕。

Amitabha Roy (Soumitra Chatterjee), a sriptwriter has a breakdown near a tea-estate and he is offered a place to stay by the estate manager (Haradhan Banerjee) at his bungalow. When he reaches, Amitabha finds out that the manager is married to his ex-girlfriend, Karuna (Madhabi Mukherjee). The manager has invited Amitabha to assuage his own boredom # and fails to notice the uneasiness between his wife and the guest. The plot unfolds over a period of approximately one-day when they have dinner, breakfast and go for a picnic # and small gestures rekindle Amitabha's memories. Through a series of flashbacks, he remembers their first meeting, courtship and separation (which was solely because of his lack of courage to make a commitment). Amitabha's current affluence and his suspicion of Karuna's unhappiness leads him to propose to Karuna once again but she is inclined to believe that the time to muster up courage has gone past.

A wealthy family from Calcutta is on the last day of their vacation in Darjeeling, a hill station at the foot of Mount Kanchenjungha, t he second highest peak of the Himalayas. Until now, they have been unable to catch a glimpse of the peak Kanchenjungha.The family members are dominated by the father, Indranath (Chhabi Biswas), an industrialist. He wants his daughter to marry a man of his choice and hopes that the man will propose if they are left together alone for some time.
Several long walks and long conversations form the main body of the film. The real-time drama unfolds the daughter's feelings about her father's idea, and the negative reactions to this by her mother and others.
By accident, she meets an outsider, Ashoke, a young student who has refused a job offer from Indranath. Though nothing develops between them, his presence coupled with the setting of mountains and the failure of her sister's marriage, prompt her to reject the proposed suitor.
At the end of his walk, the industrialist arrives at a rendezvous point, expecting to meet his family and the successful suitor. None of them is present to greet him. As the mist clears, the peak of Kanchenjungha is revealed in its full glory. But Indranath is too pre-occupied to admire it.
Kanchenjungha was Ray's first original screenplay and for the first time, he was shooting in color. The film shows about 100 minutes (in real time) in the life of a group of rich Bengalis on vacation.Unlike the usual Ray films, it has a fragmented narrative with no central characters, and no straight narrative in the classical sense.
It is a very structured and composed film that uses color and nature to heighten the drama. Ray told his biographer Andrew Robinson: "The idea was to have the film starting with sunlight. Then clouds coming, then mist rising, and then mist disappearing, the cloud disappearing, and then the sun shining on the snow-peaks. There is an independent progression to Nature itself, and the story reflects this."
As the weather becomes misty - the young daughter and the suitor part at that point, Indranath meets Ashoke, and the elder daughter, Amina and her husband have a bitter moment between them. And then when the sun appears again - Amina's daughter comes back to her parents and they accept her, the misunderstanding is cleared up, and the younger daughter and Ashoke develop a tentative relationship with a hint of future prospects.
The characters and the Nature are interrelated in mood. In his later film Asani Sanket (Distant Thunder, 1973), Ray attempted quite the opposite. While the Nature is shown in its full glory and lushness, in contrast, the characters starve and do inhuman things.
As the characters do not change the clothes during the film (it being depiction of a real time event that happens in 100 odd minutes), the colors of clothes too add a dimension to the characters.
About Kanchenjungha, Ray told in an interview to Cineaste magazine, "(It was) a very personal film. It was a good ten to fifteen years ahead of its time... Kanchenjungha told the story of several groups of characters and it went back and forth. ... It's a very musical form, but it wasn't liked. The reaction was stupid. Even the reviews were not interesting. But, looking back now, I find that it is a very interesting film."