The Raja Saab arrives in theatres with the promise of blending horror, fantasy and comedy, but the film rarely rises above its own ambitions. Directed by Maruthi, the Prabhas starrer opened this week amid curiosity, especially given the actor’s recent box office run. What plays out on screen, however, is a strangely lifeless film that fails to create either fear or fun.
Set around a sprawling ancestral property and long buried secrets, The Raja Saab attempts to build mystery through supernatural elements and royal intrigue. The writing never fully commits to its tone. Scenes meant to frighten feel predictable, while the humour relies on tired setups that draw few laughs. The pacing remains uneven, with long stretches that test patience without adding substance.
Prabhas carries much of the film on his shoulders. He appears earnest and comfortable in lighter moments, and his screen presence briefly lifts an otherwise dull narrative. But even his effort cannot salvage a script that lacks clarity and emotional depth. The character arc feels underdeveloped, making it difficult to invest in his journey.
Sanjay Dutt’s role hints at menace and gravitas but is thinly sketched. Nidhhi Agerwal and the supporting cast are given limited scope, mostly reacting to the plot rather than shaping it. Visual effects, crucial for a fantasy horror film, fluctuate in quality and often break immersion instead of enhancing it.
Audience response has been muted. Social media reactions point to disappointment, with viewers calling the film confused and dated in its approach. Some fans welcomed Prabhas trying a different genre, but many felt the execution lacked conviction. At a time when audiences expect sharper writing and tighter storytelling, The Raja Saab feels behind the curve.
For Prabhas, the film marks another attempt at experimenting with genre cinema. It is an idea that needed stronger writing and firmer direction to work. As he moves on to his next releases, expectations remain that better scripts will do justice to his stature. The Raja Saab, for all its scale, ends up feeling hollow.
