The Raja Saab Review: Prabhas’ Horror Fantasy Falls Short of Expectations

Post the earth-shattering success of the Baahubali franchise, Prabhas has firmly established himself as the face of grand, big-budget spectacles. Over the last decade, regardless of box-office outcomes, his films have consistently aimed to deliver scale, extravagance, and a theatrical experience tailored for the big screen. Following two back-to-back blockbusters—Salaar and Kalki 2898 AD—expectations were sky-high when he teamed up with director Maruthi for The Raja Saab.

Marketed initially as a romantic horror comedy, The Raja Saab eventually evolved into a romantic horror fantasy mounted on a lavish scale. The film finally hit theatres today after nearly three years in production, sparking curiosity about whether Prabhas could score a hat-trick and whether Maruthi could silence critics who questioned this unusual pairing.

Story Overview

At the heart of The Raja Saab is an emotional grandmother-grandson bond. Gangamma (Zarina Wahab), an Alzheimer’s patient, lives with her doting grandson Raja Saab aka Raju (Prabhas). Though she forgets most things, she constantly reminisces about her long-lost husband Kanakaraju (Sanjay Dutt).

Raju discovers that his grandfather might be living in Hyderabad and sets out to reunite the elderly couple. However, the journey takes a dark turn when he learns that Kanakaraju is long dead and has returned as a powerful, malevolent spirit guarding a haunted palace filled with secrets and wealth. What follows is a clash between familial emotion, greed, the supernatural, and psychological mind games. Subplots involving Bhairavi (Malavika Mohanan), her grandfather (Samuthirakani), and two other female characters add layers, though not always meaningfully.

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Performances: Mixed and Inconsistent

Prabhas makes a conscious attempt to step away from his larger-than-life action persona and embrace comedy—a refreshing idea on paper. His timing works in a handful of scenes, and an emotional sequence in the second half showcases his sincerity. However, inconsistent looks, uninspired body language, and excessive green-mat usage severely dilute his impact.

Sanjay Dutt enjoys a well-defined role and brings intensity as the antagonist, often elevating scenes with his screen presence. Zarina Wahab delivers a dignified performance as Gangamma, particularly in the climax, though outdated writing often pushes her into melodrama. Samuthirakani makes an impression, but his aged get-up looks unconvincing.

Despite featuring three heroines—Malavika Mohanan, Nidhhi Agerwal, and Riddhi Kumar—the film fails to give any of them substantial character arcs. Malavika at least gets an action sequence, while the other two remain largely ornamental. Actors like Boman Irani and VTV Ganesh are sadly underutilised, wasted in poorly written roles.

The comedian trio—Satya, Prabhas Sreenu, and Saptagiri—provide the film’s few genuinely entertaining moments, carrying Maruthi’s trademark over-the-top humour wherever the script allows.

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Technical Aspects: A Major Letdown

Thaman’s background score is one of the film’s biggest disappointments. Loudness is repeatedly mistaken for impact, resulting in an underwhelming and sometimes irritating auditory experience. Cinematographer Karthik Palani’s work looks outdated, with several frames—especially in songs—appearing substandard.

Kotagiri Venkateswara Rao’s editing is another glaring issue. The nearly three-hour runtime feels exhausting, with at least 30–40 minutes of unnecessary footage that should have been trimmed. The excessive reliance on VFX and green screens backfires badly, making several sequences look artificial and poorly rendered despite heavy expenditure by People Media Factory.

Positives

• A few Maruthi-style comedy sequences

• Prabhas’ comic timing in select scenes

• Sanjay Dutt’s intense screen presence

• Emotional moments involving Zarina Wahab

Negatives

• Outdated and illogical writing

• Aimless, inconsistent direction

• Excessive runtime and sluggish pacing

• Poorly executed VFX and green-mat visuals

• Weak music and forced songs

• Underwritten female characters

Analysis: Where It All Went Wrong

Maruthi once created a sensation with Prema Katha Chitram by staying rooted in strong writing and simple execution. Unfortunately, The Raja Saab reflects the director’s recurring flaw—prioritising star image and scale over script. What began as a simple horror comedy ballooned into a confused horror fantasy, losing focus and coherence along the way.

Despite having a PAN-India star like Prabhas, the film lacks engaging sequences that could resonate across audiences. The second half, especially the prolonged pre-climax and climax, tests patience with mindless writing and unclear vision. Shockingly, several sequences teased in trailers and posters—including Prabhas’ old-age look—never made it to the final cut, highlighting a lack of creative clarity.

Final Verdict

Overall, The Raja Saab is an uninspiring and disjointed horror fantasy that works only in bits and pieces. Prabhas’ attempt to explore comedy is sincere but inconsistent, while Maruthi’s outdated writing and overambitious execution weigh the film down. Despite a few engaging moments, the film never comes together as a cohesive whole.

The Raja Saab is likely to appeal only to die-hard Prabhas fans willing to overlook its many flaws. For everyone else, this is a royal mess that falls far short of its towering expectations. 

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