Quick Take: The Raja Saab stands on shaky ground as it attempts to blend horror, supernatural, and paranormal elements.
A young man, Raju (Prabhas), tries to salvage his ancestral property and protect his grandmother from evil spirits. To accomplish his mission, he must confront haunted souls, including one played by Sanjay Dutt. Does he succeed? That forms the crux of the story.
Director Maruthi takes almost the entire first half—nearly one hour and twenty-five minutes—to arrive at the core plot of The Raja Saab. Weighty themes such as horror, the supernatural, and the paranormal are packed into a narrative that oscillates jerkily between comedy and horror. While the film attempts to deliver chills, laughs, spooky twists, and humorous moments, it ultimately misses the mark. Weak writing and a lack of impactful scenes mar the narrative.
The film opens with Raju caring for his grandmother (Zarina Wahab), who suffers from Alzheimer’s. He is also on a mission to trace his missing grandfather, Kanakaraju (Sanjay Dutt). As the story progresses, Raju discovers that his grandfather has died and turned into a spirit. Meanwhile, the romantic tracks involving Nidhhi Agerwal, Malavika Mohanan, and Riddhi Kumar remain underdeveloped. None of Prabhas’s scenes with the leading ladies elevate the romantic quotient or generate laughter. Several sequences in the first half feel stretched and bloated, possibly due to excessive time spent establishing the film’s world. The narrative struggles with weak writing and fails to do justice to the genre, making the scares ineffective and the comedy fall flat. Prabhas, too, feels underutilized.
Kanakaraju’s backstory—detailing how he acquires tantric powers—is executed fairly well, aided by visual effects. It is only at this point that the film begins to gain momentum, leading to a pre-interval highlight that sets up the second half effectively.
Once the second half begins, the film shifts gears. The action tightens, and the characters finally start to come alive. Traditionally, horror-comedies work best when they are crisp and tightly packaged. However, with a three-hour runtime, The Raja Saab faces a significant challenge. That said, Maruthi does put his best foot forward as the narrative becomes more compact and the drama unfolds with better clarity.
Production designer Rajeevan’s haunted house set stands out visually, with nearly 80 percent of the film shot at this location. It is here that a series of strange events unfold, gradually revealing a deep-rooted psychological mystery.
The director introduces the concept of self-hypnosis as a technique to combat spirits. By accessing mind-body connections and channelling emotions with heightened focus, one can supposedly avoid falling prey to ghosts. This idea is effectively backed by an action-packed, VFX-heavy climax sequence between Prabhas and Sanjay Dutt. The episode elevates the film considerably and is easily its strongest stretch—though one wonders if it arrives a little too late. At times, audiences may still find themselves confused by the unfolding narrative.
Prabhas remains the heart of the film. He plays it straight when required and embraces the absurd when the script allows. Watching him return to a street-smart avatar after a series of larger-than-life roles is refreshing. His ability to evoke humour while navigating flashy settings and romantic subplots is a reminder of his versatility. Nidhhi Agerwal and Malavika Mohanan get some scope to perform, while Riddhi Kumar’s role is extremely limited. Karthik Palani’s cinematography is top-notch, and Thaman scores well with the background score. While the songs are lavishly mounted, none leave a lasting impact.
Overall, while The Raja Saab attempts to blend mystery, horror, and humour, it works only in parts. Given Prabhas’s stature and past performances, the film ultimately turns out to be a letdown.
Also Read: Prabhas Is a Global Sweetheart With Fans Everywhere: Director Maruthi
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