The Raja Saab begins with a premise that, on paper, holds genuine promise. Prabhas plays Raju, a man deeply attached to his ageing grandmother Gangamma (Zarina Wahab), whose unresolved past leads them to a secluded, supposedly haunted mansion hidden within a dense forest. The house is tied to ancestral secrets, mysterious deaths, and supernatural forces waiting to be uncovered. It’s a setup that could have worked as a controlled horror-fantasy or a character-driven mystery. Unfortunately, the film seems incapable of restraint at any level.
What initially appears to be routine mass-movie excess — an introductory song loudly reminding the audience of Prabhas’ stardom — soon reveals itself as the film’s guiding philosophy. The intro is not an indulgence; it’s a declaration of intent. From that point on, everything is exaggerated to exhaustion. Heroism is proclaimed rather than developed. Logic isn’t stretched for drama; it’s simply discarded. Every moment is inflated with slow motion, elevation shots, and a background score that aggressively refuses silence. The music frequently feels like it’s attempting to replicate the energy of Naatu Naatu, but without its rhythm, joy, or cultural specificity — leaving behind only noise.
The disappointment deepens when viewed against Prabhas’ career trajectory. Post-Baahubali, he remains one of the biggest pan-Indian stars, yet The Raja Saab feels creatively careless, leaning almost entirely on his physical presence to mask weak writing. Stardom may pull audiences in, but it cannot rescue a film that lacks narrative clarity or tonal control. His limited promotional presence, in retrospect, feels less puzzling and more understandable.
Some creative choices are particularly baffling. Nidhhi Agerwal’s Bessy is introduced in a nun’s attire, briefly shown performing confessional duties, before being positioned as a romantic interest. Later clarifications that she is merely a postulant feel less like thoughtful character design and more like reactive damage control. This “shock first, explain later” approach defines much of the film.
The haunted mansion itself, meant to evoke dread, instead resembles a fashion runway. Characters stranded in supernatural danger somehow appear immaculately styled in every scene, obliterating any sense of immersion. Add to this underwhelming and often cartoonish VFX, and the film’s reliance on spectacle collapses under its own weight.
By attempting to juggle horror, comedy, romance, fantasy, and hero worship simultaneously, The Raja Saab stretches itself into incoherence. Scenes announce themselves loudly and move on without rhythm or consequence. The sequel tease — RajaSaab 2: Circus 1935 — feels less like ambition and more like a prank. Ultimately, The Raja Saab mistakes noise for scale and chaos for mass appeal, delivering spectacle without conviction or craft.
Movie: The RajaSaab
Directed by: Maruthi
Featuring: Prabhas, Sanjay Dutt, Zarina Wahab, Boman Irani, Malavika Mohanan, Nidhhi Agerwal, Riddhi Kumar
Theatrical Release date: 9 January 2026
Running Time: 3hrs 9mins
Primary Language: Telugu