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15 out of 17 people found the following review useful:
maybe a film for mature viewers(cinematically,i.e!), 23 January 2006

Author: tojoroy from Norway

a truly underrated masterpiece.as a child growing up in a Ray-worshipping family i'd always been told about this gem,but as a child and an adolescent it never made a deep enough impression upon me.after a few hundred truly excellent movies and twenty years later one late night viewing opened my eyes .figuratively ,i mean!i think i needed to find out WHAT a good movie is before truly appreciating kanchenjungha. almost the best performances of their careers from all the artistes in the movie.veteran actor Chhabi Biswas gives the performance of a lifetime as Raibahadur Indranath .Ray has commented elsewhere that some characters such as Raibahdur Indranath Chowdhury here,and the Zamindar Bishwambhar Roy in Jalsaghar could not have been fleshed out by any other than the late Chhobi Biswas.and with his death the Indian film industry suffered an irreplaceable loss. somebody else has commented that the print quality was bad and dark so he didn't like it.i have heard many to have come up come with similar allegations. fact remains that Ray shot this film with masterfully chosen available light conditions(read:no reflectors,you morons!)to depict the subtle interplay of light and shade to blend in with progress of the storyline!(as an aside ray recounts the sad story of a Bollywood film crew who arrived in Darjeeling at the same time as ray's team,and were still waiting for the elusive sun to arrive so they could begin shooting by the time ray had his whole film in the can and packed up to go home!) the climactic scene of the kanchenjungha suddenly making a brilliant appearance at the penultimate hour never fails to bring out goosebumps!definitely recommended.

7 out of 8 people found the following review useful:
A Masterpiece least understood, 11 June 2004

Author: Kolkatar Jeeshu from USA

Ray's first Color film, a cinematic masterpiece, filmic experiment at its height and incidentally my most favorite. For some reasons, this movie is least understood among the Bengali speaking people and abroad as well and hence remains least appreciated.

The single most noteworthy feature about this movie is the equivalence of real time (total time of the day being depicted in movie) and movie time (total screening time). At least among the Indian movie makers, Ray is the first one who had done such experiment and of course, he succeeded comprehensively.

In order to understand the screenplay of 'Kanchanjangha', I would recommend every non-Bengali speaking people, for the first time at least, to look for a good and authentic translation of the script and then only they should sit for watching this movie. You have to keep one thing in mind; Ray's screenplay is extremely dependent on the usage of dialogue and silence and they are, in this case, written in Bengali Language and set into Bengali context. Unlike Kieslowski, Kurosawa and Bergman, Ray's imagery lacks the dramatic element. So, in order to understand 'the drama' it's recommended to understand his language to the extent possible.

5 out of 5 people found the following review useful:
Kanchenjungha- a re-review, 17 July 2007

Author: Somanjana Chatterjee from India

Synopsis: Kanchenjunga is not a story. It comprise snapshots of various human characteristics like pride, simplicity, carnal desires, thoughtlessness, romance, heroism and above all triumph of human spirits over conventional, social idiosyncrasy. All this happens in the hill station of Darjeeling, in the lap of nature with the picturesque eastern Himalayas in the backdrop.

In a nutshell, Kanchenjungha is a film about a wealthy, classy family: their views, experiences and approach towards life with the central theme revolving around a prospective matrimonial alliance between the younger daughter of the family and a well-established consultant.

The Film: The screenplay begins by presenting the last day of the vacation for the Chowdhurys headed by Raibahadur Indranath Chowdhury (Chhobi Biswas). The opening scene is a collage of shots, which establishes different members of the family and their respective modus operandi. The melodious grandfather clock announces 4"o clock in the background.

We find Indranath keen to visit the Mall in anticipation of a positive consequence of schema related to his younger daughter, Monisha's (Alakananda Ray) alliance with his newly found prodigy Mr.Banerjee (N.Visanathan). His wife Labanya (Karuna Banerjee), a timid, sensitive lady taking time to wrap-up last minute packing. Her brother Jagadish Chatterjee (Pahari Sanyal), an ardent bird watcher in this film consciously avoids Indranath's speculation by taking refuge in a book. Indranath's only son enacted by (Anil Chatterjee) hurries to meet his date while the elder daughter Anima (Anubha Gupta), a suave, stylish woman receives and promptly hides a correspondence in her purse. We could get a glimpse of her nervous glances revealing a possible secretive endeavor amidst marital sanctity. Her husband Shankar (Haridhan Mukherjee) looks laid back and sarcastic with mixed feelings towards the latest groom-hunting process initiated by his in-laws. There lies an underlying current of tension between him and his wife that gets confirmed by his advice to Monisha about not to get married without falling in love citing the ineffectiveness of his own status.

Cut to a parallel sequence of an elderly, middle-class man exhausted of climbing up the stairs to the Mall with his humble nephew Ashok (Arun Mukherjee) who apparently is searching for a job.

It is mentionable that the background of all the above characters, their thought process and behavioral traits have been brilliantly presented through series of well conceived dialogues. Yes, only dialogues. No third person narratives. No visual manifestation in terms of flash back, dream sequences etc. In fact, the master storyteller has been able to generate such an evocative dialogue sequences that at the end of the film, the audience acquire full capacity to judge each and every character in the light of respective rationale.

It is also noteworthy that Ray's characters never surpass the humane status quo. They reflect relevant cognitive behavior and contextual influences. Be it "Siddartha" in Pratidwandi or "Arindam" in Nayak, one can never expect Ray's protagonists molded in typical ubermanesque image in stark contrast to the so-called Heroes of Hollywood and Bollywood.

Kanchenjungha substantiate that. The elitist, urban Mr.Banerjee asserts boastfully about his professional and materialistic achievements. He even confesses about his clandestine foreign affairs while wooing his ladylove Monisha. This refined gentleman also depicts a prosaic approach towards conjugality and life in general. Towards the end he displays an extremely liberal and tolerant attitude, which is commendable in the realms of dominating, patriarchal association.

Although we see Monisha mostly in pensive, escapist mode, we also get to catch her in rare vivacity while interacting with Ashok --- a chapter, which hints at the potential of romance between the wellborn Monisha and Ashok of humble existence, who transcend commonality by disobeying the archetypal narcissistic Indranath Chowdhury.

The Anima-Shankar track provides an in-depth analysis of a marriage going haywire due to lack of understanding and interpersonal rapport. Through a thought-provoking, evocative conversation between the two we witness the gradual transition of the couple in pursuit of a fulfilling married life post admission of their respective peccancy – Anima indulging into an illicit love-affair and Shankar imbibing ancestral traits like gambling and mindless extravagance.

The promiscuous son perfects the art of flattery and triviality in the romantic surrounding of Darjeeling.

The ever cheerful, simplistic and benevolent Jagadish portrays the perceptive ornithologist, who is detached from worldly desires but plays his part well in comprehending the nuances of familial situations.

After a lifetime of unconditional subjugation to her husband, Labonya ascends to an assertive, inspiring parent.

Even Chhobi Biswas had his uncharacteristic vulnerable moments when he tries to justify his accurate decision-making capability to his uncertain wife or displays childish exuberance while talking to Ashok.

The brilliant soundtracks right from the Lepcha song to the appropriate background score like the bird whistle, noisy interlude of the radio or jingle of bells tied to the yaks contribute immensely to the dimensions of the mise-en-scene.

Beside, Ace editor Dulal Datta did an exceptionally well rendition in terms of synchronizing multiple character-sequences in perfection without compromising on the pace of the movie.

Any write-up on Kanchenjungha would remain unfinished if it doesn't mention the incorporation of 'nature' that accentuated the varied moods of the film -- An overcast evening to suggest unfavorable circumstances, mist to render underlying tension and sunshine to portray agreeable settlement. Finally the mighty Kanchengha with all its splendor depict celebration of hope and aspiration.

However, Ray has managed to remain an aloof and neutral presenter through out the process of the film, which adds to the aesthetics of this cinematic masterpiece.

A classic not to miss.

6 out of 7 people found the following review useful:
It is a great movie, 9 January 2003
Author: asm34

I think this is a great movie by any standard. This is also a very complex one. People who are familiar with Ray's Apu Triology will find it difficult to grasp the fact that the same ray is the director of this film.

Kanchenjungha deals set in hilly areas deals with 20th century problems in pristine location. Problems that we try to suppress in daily life, seems to get revealed and exposed to everybody else. It is like we are revealing ourselves as Kanchenjungha is exposed through bright sunlight.

Please note that you have to be patient with this movie. It is very different from all other Ray movies. Furthermore, there exists no central character. It is probably the most underrated of all Ray movies.

5 out of 6 people found the following review useful:
Superb, 6 August 2003

Author: ckundu

Magical, lyrical and a highly intellectual film, Kanchenjungha, was Satyajit's first original screenplay. It depicts a real time event of 100 minutes on screen. It was quite ahead of its time and it's still amazing to see again and again.

5 out of 7 people found the following review useful:
A cinematic one act sketch from an expert., 26 March 2003
Author: bab0000 (bab0000@hotmail.com) from california

If this movie were an ibsen play (like enemy of the people was) it would be a one act play. Its power comes from the firm pencil stokes of the sketch that is the film. And it is a film about the tiniest of all characters in it- the (suitable) girl that's fresh as a yellow mountain flower.

Satyajit ray uses the elements as symbolism in his films. He does so quietly here. The gentle sound montages (sply the raspy and raucous sound in a supposedly genteel holiday resort ) are used to draw attention to elements and turns in the smooth plot. And the mountain ranges are used as powerful visual metaphor.

The last day of the family's stay at the resort has come, the ranges of snowcapped Himalayas are still obscured by clouds. The view is reputedly spectacular and nobody knows if a glimpse of the Kanchenjungha peak is possible before they leave. The Suitable boy has not yet proposed to the youngest daughter of a patriarch moneybags , and everyone is hoping he will today. Her sister, who married unhappily and has continued an affair she started before her wedding must decide what to do about it. The brothers of the patriarch chase after birds of different kinds, while an old tutor seeks to get his nephew a Job with the patriarch..

Complexly created simple tale of everyday life.

4 out of 6 people found the following review useful:
One of the Ray's least seen, best movie ..., 22 December 1998
Author: Shahbaz Nazrul from San Diego, CA

This movie is Ray's first

1. Colored movie 2. Movie whose script is written by Ray himself 3. Movie whose story duration is only one day.

After Kanchenjungha Ray made a number of B/W movies until 1973 when he made second colored movie "The Distant Thunder." In most of his career Ray used to make movies out of novels and stories written by famous BENGALI writers. E.g. his best known works of APU TRILOGY (Pather Panchali, Aparajito and Apur Sansar) are actually movie version of Bibhutibhushan Bandyopadhyay's novels. In the same way he made movies out of Nobel Laureate Rabindranath Tagore's stories and novels (e.g. Three Daughters, Charulata and Ghare-Baire). But this is one of the three movies whose writing credits fully goes to Ray himself (other 2 are Nayak and Agantuk). In all these three movies he in someway tries to speak about his own thoughts and philosophies of life via the characters of these movies. And of course all of these 3 movies are great works of Ray.

Indranath Choudhury (Chhabi Bishwas) along with his whole family goes to the beautiful hilly city of Darjeeling to spend vacation. Members of his family and some other characters of the movie start reacting differently influenced by the immense beauty and power of Kanchenjungha (Highest pick of India, also it is one peak of the mighty Himalayas). Anima (daughter of Indranath) confesses her secret love affair to her husband and assures him to amend the relationship for the betterment of Tuklu (their daughter). Labyanya Roy Choudhury (w/o Indranath) becomes worried for her husband's plan of giving their daughter Monisha's marriage to a more materialistic guy (Banarjee). Ashok, a tormented poor young man also refuses to accept any job offer from Indranath. In fact the mesmerizing effect of Kanchenjungha on the characters of this film is done with incredible perfection. On my judgement, Kanchenjungha along with Nayak are the best movies made by Ray. I also rate those films as two great movies ever made in film history.

1 out of 1 people found the following review useful:
Metaphorical Masterpiece, 24 January 2007

Author: kunalsen_7684 from India

This Ray film is fraught with imagery, symbolism, metaphors and weaves in a few independent stories together to culminate into an understanding of the human psyche. Ray comes out of the black and white neo real phase of his career and Kanchenjunga would mark the nascent stages in the second phase of his career- a career that had so brilliantly taken off with the bona fide masterpiece that is Pather Panchali. Coming to Kanchenjunga (the name belongs to the world's third tallest mountain peak which is said to be elusive to human eye as it's perennially clouded due to fog), the film follows a group of tourists on vacation in Darjeeling, a hill station - the first thing that comes to your mind is just how fraught the film is with metaphors- linking the human mind and attitudes to nature's marvels- thereby the dense fog which prevents our protagonist (played mesmerisingly by Chabi Biswas) from seeing Kanchenjunga clearly is symbolic of his myopic opinions and it is lifted in the last scene where after stripping himself away from all his erstwhile prejudices, he is able to view Kanchejunga for the first time. But, in the end, Kanchenjunga remains a film about human emotions which also talks about the socio- economic divide and dwells into the complex inflexible minds of some of us

Ray perfectly blends the random mood of nature and ever changing human mind, 8 November 2011
Author: biswanathdas86 from Kolkata, India

*** This review may contain spoilers ***

I'm a Ray-worshiper. But the thing, which haunts me most about this film: the appropriate use of the natural lighting & weather conditions (may be the best in Ray's career). The intangibility syndrome of this Raibahadur comes out vigorously here, against the natural and brave (yet so childish) behavior from a young-educated but worthless (not humanly) person. And again the human mood was trafficking along with the weather change, which is very much relevant with the socio-economic trust/culture of that era. Characterization was perfect as N. Viswanathan was trying to put the western (Bileti) culture into the main stream of daily Bengali life, though want a homely wife! And again the theme 'NATURE', backbone of this film. Ray perfectly blends the random mood of nature and ever changing human mind. Last word: A true masterpiece...

More than just a holiday, 6 July 2010

Author: vogonify from India

In the holiday hill-town of Darjeeling, the Kanchenjunga is covered with early morning mist on the day Mr. Choudhuri hopes his daughter is proposed to by the well-to-do, Mr. Bannerjee. As the day goes on you realise there are only two people who want this marriage to happen, and neither of them is the girl in question. Also during the day, the family encounters and solves many of it's other teething problems which might never have been spoken about in the busy daily life of Calcutta. You'd least expect Darjeeling to be venue for such a wholesale moral cleansing. But remember, there is the mighty Kanchenjunga looking at it from afar. You can only see it if the mist relents. The parochial patriarch doesn't know that an internal mist is blocking his mind's eyesight. The bickering married couple has it's own sins to clean. The mother, the youngest daughter and the unemployed youth haven't got any such problems. That however is the advantage of a day-long chronicle. The patriarch is as much a caricature as the "good" people are. But it's just a single day in their lives and even that was enough for Mr. Choudhuri to change tracks. Apparently, this film was the first time Ray wrote by himself without adapting from a source. Like in Sonar Kella, he gets his terrain right. If for thieves hunting for ancient treasures he went west, to Rajasthan. For a philosophical experience he went east, to the hills.

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