Prabhas’ latest festive release, The Raja Saab, arrives with the promise of a grand entertainer that blends supernatural drama, romance, mass comedy, illusions, and emotional family beats. The premise is strong, the intention is sincere, and Prabhas finally looks energetic again- but somewhere between its big ambitions and louder-than-necessary execution, the film slips into an uneven, overlong mix of ideas that don’t always align. Still, for fans of fantasy-driven Indian entertainers, there is enough here to hold attention… at least in parts.
This review looks at how the film fares across story, performances, execution, and what ultimately works- and what doesn’t.
The Plot or Story & Screenplay
The film opens on firm emotional ground, with Raju (Prabhas) caring for his grandmother, who suffers from Alzheimer’s, and holding on to the hope of one day reuniting with his missing grandfather Kanakaraju (Sanjay Dutt). These portions- simple, intimate, and rooted- are the most effective stretch of the film, setting up a heartfelt emotional anchor.
But once the narrative expands into its larger-than-life supernatural zone, the screenplay begins to wobble. The first half drags with repeated gags, loosely stitched romantic bits, and a haunted-house track that takes far too long to gather purpose. Scenes feel stretched, transitions feel abrupt, and the humour rarely lands the way it should.
The second half is where the film finally finds some rhythm. Kanakaraju’s transformation into a vengeful spirit brings psychological games, illusion-driven confrontations, and a more focused conflict. For a brief stretch, the film becomes what it set out to be- a supernatural mass entertainer with emotional stakes. However, tonal switches continue to disrupt the flow, and the screenplay never manages to maintain the high it occasionally touches. The nearly three-hour runtime only amplifies this inconsistency.
Performances
Prabhas remains the film’s strongest pillar. He carries warmth in emotional scenes, charm in the rom-com portions, and a controlled intensity during the illusion sequences. Even when the writing falters, Prabhas’ sincerity keeps the film afloat.
Sanjay Dutt delivers one of the film’s most impactful performances. His presence adds weight and threat, and the film comes alive whenever he enters the frame. Zarina Wahab brings a gentle emotional authenticity as the ailing grandmother, grounding the drama with honesty. Boman Irani is effective, though underused.
The romantic track suffers primarily because the leading ladies- Malavika Mohanan, Nidhhi Agerwal and Riddhi Kumar- aren’t given material substantial enough to make their characters compelling. Their presence becomes decorative rather than narrative-driving.
Direction
Director Maruthi clearly aims for a commercial cocktail of fantasy, romance, horror-comedy, and heartfelt family drama. His ambition is undeniable, but the lack of tonal discipline holds the film back. The emotional beats are sincere, the supernatural concept has spark, and the illusion sequences show creativity. Yet, the overall storytelling feels uneven, loud, and structurally scattered. A tighter hand on the screenplay could have elevated the entire experience.
Music & Technicals
The film’s visuals are a mixed bag. Certain VFX-heavy sequences- especially inside the palace- look striking and imaginative, while others feel rough around the edges. The production design gives the film scale and grandeur, helping the fantasy elements land better.
However, the background score is excessively loud, often overpowering moments that should have breathed quietly. Editing is the film’s weakest technical department, with several sequences overstaying their welcome and slowing down the narrative pace considerably.
What Works
What works best is the emotional foundation between Raju and his family, along with Prabhas’ grounded performance. The supernatural conflict in the second half finally injects life into the narrative, giving the film a more defined personality. Sanjay Dutt’s menacing presence and some creative illusion-based sequences offer genuine sparks of excitement.
What Doesn’t
The film suffers from an extremely stretched first half, inconsistent tonal shifts, uneven humour, and undercooked romantic tracks. The screenplay doesn’t explore its strongest ideas deeply enough, choosing instead to rely on loud execution. The runtime becomes a major burden, and several characters feel half-baked, especially the female leads.
Also read: De De Pyaar De 2 OTT Release
Final Verdict
The Raja Saab is an ambitious fantasy entertainer with moments of emotion, charm, and spectacle, but it is weighed down by weak writing and an often scattered narrative. Prabhas shines, Sanjay Dutt elevates the conflict, and the emotional beats occasionally land- but the film never becomes the cohesive, gripping entertainer it wants to be.
A film that works in parts, stumbles in many, but remains watchable for its sparks of imagination and Prabhas’ heartfelt presence.
The Review
The Raja Saab
Visually polished but narratively shaky, the film delivers moments of impact but stumbles in tying them together.
PROS
- Prabhas delivers his most grounded, spontaneous performance in years.
- Sanjay Dutt’s dark, intense presence elevates several key moments.
- A few second-half sequences finally tap into the film’s potential.
CONS
- A sluggish, unfocused first half drains the narrative.
- Tonal confusion: comedy, horror, romance, and fantasy rarely blend well.
- Bloated runtime makes the story feel stretched and directionless.
