‘The Raja Saab’review: A grand idea lost in aimless spectacle
Rating: 1.5/5
After the massive success of Kalki 2898 AD, Prabhas returns with The Raja Saab, a romantic horror fantasy directed by Maruthi. Marketed as a lighter entertainer amid Prabhas’ streak of large-scale spectacles, the film generated curiosity due to Maruthi’s reputation for comedy-driven narratives. However, what was expected to be a simple horror-comedy gradually transforms into an overblown fantasy, raising the question of whether scale has once again overshadowed substance.
Story
Gangamma (Zarina Wahab), an elderly woman suffering from Alzheimer’s, lives with her grandson Raja Saab (Prabhas). Despite her fading memory, she never forgets her long-lost husband Kanakaraju (Sanjay Dutt). When Raja learns that his grandfather is alive and living in Hyderabad, he sets out to reunite the estranged couple. Along the way, he encounters Bhairavi (Malavika Mohanan) and gets drawn into a web of family secrets, forgotten royal legacies, and emotional conflicts involving Bhairavi’s grandfather (Samuthirakani). What begins as a heartfelt reunion tale slowly drifts into a supernatural fantasy layered with romance and action.
Performances
Prabhas shows flashes of effective comic timing in a few scenes and delivers well in an emotional stretch in the second half. However, inconsistent looks and a largely uninspired presence dilute his impact. Sanjay Dutt plays a substantial role with restraint, while Zarina Wahab brings sincerity to her part, especially in the climax, though melodramatic writing limits her performance. Samuthirakani is impactful but miscast in an unconvincing elderly look. Among the three female leads, Malavika Mohanan gets slightly more scope, but all three suffer from poorly written roles. The comedian trio—Satya, PrabhasSreenu, and Saptagiri—provide the film’s few genuinely engaging moments.
Technicalities
Maruthi’s direction lacks clarity and focus. Thaman’s music and background score are largely underwhelming. Editing by KotagiriVenkateswara Rao is a major drawback, with excessive runtime and dragging sequences, especially towards the climax. Cinematography by Karthik Palani feels dated, while inconsistent and overused VFX severely affect the viewing experience.
Analysis
The Raja Saab suffers primarily from an identity crisis. What was conceived as a simple horror-comedy gradually morphs into a lavish fantasy, seemingly driven by the belief that a Pan-India star demands constant grandeur. This approach works against the film. Maruthi’s biggest strength has always been rooted storytelling and situational comedy, but here, he prioritizes scale over script. As a result, the narrative feels outdated, directionless, and emotionally hollow.
The second half, in particular, tests patience with stretched scenes and unfocused conflicts. Excessive green-mat usage, even for basic sequences, further distances the audience from the story. Despite a talented cast and massive budget, the film fails to deliver a coherent or engaging experience. Prabhas’ attempt at a lighter entertainer ends up being neither an effective comedy nor a convincing fantasy. Overall, The Raja Saab is a forgettable outing that highlights how star power alone cannot compensate for weak writing and unclear vision.
Rating: 1.5/5
