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Two documentaries from this period are Sikkim (1971), a travelogue on the northern border kingdom, and The Inner Eye (1972), a short tribute to the blind artist Binod Behari Mukherjee. Between these two documentaries, however, Ray made Ashani Sanket (Distant Thunder, 1973), his second colour film

In 1961 Ray had revived Sandesh, the children's magazine founded by his grandfather and continued by his father until his premature death. From this time, alongside his movie-making he also produced a constant flow of illustrations, verses, translations and stories for the magazine. Several of his stories featured Felu Mittar, a private detective and it is one of these that he adapted for his second children's film Sonar Kella (The Fortress, 1974). Like all of Ray's children's films it was hugely successful.
He was persuaded to aim for a wider audience by making his first film in Hindu, Shatranji Ke Kilhari (The Chess Players, 1977), a period piece set in Lucknow 1856. Ray adapted another of his short stories for Joi Baba Felunath (The Elephant God, 1978). The plot revolves around a stolen gold statuette, which Felu eventually recovers in the face of bribes from assorted heavies. Ray followed this film with Hirok Rajar Deshe (The Kingdom of Diamonds, 1980), a sequel to Goopy and Bagha.

In 1981, as a result of a successful revival of Ray's work in Paris, ORTF commissioned a new work, Pikoo, a 27-minute fiction film. The same year, Ray was commissioned to make a film for Indian TV called Sadgati (Deliverance). A 50-minute piece filmed in Hindi, which relates a story of callous exploitation. In 1984 Ray made Ghare-Baire (The Home and the World), telling the story of a love triangle in which the characters are forced to confront the wider effects of their own limitations.

Due to his medical condition (which resulted from a heart attack during the making of The Home and the World), Satyajit Ray was told by his doctors not to do any location work and he was forced to shoot in studios. Unfortunately, this constraint of shooting does mar the last of his films as a whole. This is true of not only Ganashatru (Enemy of the People, 1989) but also

Shakha Prashakha (Branches of the Tree, 1990) and Agantuk (The Stranger, 1991).

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