The RajaSaab Movie Review: A Royal Mess of Grand Ambitions and Poor Execution
In the landscape of modern Indian cinema, few stars command the screen presence of Prabhas. Following the colossal success of Salaar and Kalki 2898 AD, expectations were naturally sky-high for his latest venture, The RajaSaab. Billed as a refreshing departure from his recent action-heavy roles, this horror-comedy directed by Maruthi promised to bring back the “vintage,” playful Prabhas audiences loved in films like Darling. Unfortunately, the result is a baffling, chaotic, and ultimately exhausting 189-minute ordeal that feels less like a movie and more like a patience test.
Despite a budget reportedly touching ₹400 crores, The RajaSaab is a glaring example of how money cannot buy a coherent script. It is a film that “mistakes stale tropes for nostalgia and noise for entertainment,” leaving the viewer stranded in a narrative labyrinth that offers no exit.
A Plot Lost in the Shadows
The premise, on paper, holds the seeds of an intriguing supernatural thriller. The story revolves around Raju (Prabhas), a carefree young man who dotes on his grandmother, Gangamma (Zarina Wahab). Gangamma, suffering from Alzheimer’s, clings to the fading memories of her husband, Kanakaraju (Sanjay Dutt), whom she believes is still alive. Driven by his love for her, Raju embarks on a quest to find his grandfather, a journey that leads him from the streets of Hyderabad to a mysterious, dilapidated mansion deep within the forests.
It is here that the film attempts to shift gears into horror-comedy. The mansion, inhabited by a “sinister presence,” becomes the stage for a clash between Raju and the dark forces tied to his lineage. Along the way, he is joined by Bessy (Nidhhi Agerwal), a devout nun-to-be, and Bhairavi (Malavika Mohanan), the granddaughter of a thief who has her own agenda.
However, what follows is not a gripping tale of mystery but a “mangled hotchpotch of disconnected sequences.” The narrative logic is flimsy at best. Characters appear and disappear with alarming randomness, and the stakes never feel real. The emotional core—Raju’s bond with his grandmother—is buried under layers of slapstick comedy and poorly explained supernatural mumbo-jumbo involving hypnotism and exorcism.
Direction and Screenplay: Maruthi’s Missed Opportunity
Director Maruthi, known for his knack for comedy in films like Bhale Bhale Magadivoy, seems completely out of his depth here. His attempt to blend the scale of a pan-India spectacle with his signature comedy style results in a tonal disaster. The film struggles to decide what it wants to be: a spooky horror flick, a laugh-out-loud comedy, or a mass-action entertainer. Consequently, it succeeds at none.
The screenplay is riddled with “lazy writing and archaic tropes.” The first half is a tedious exercise in aimless wandering, filled with uninspired romance tracks that serve no purpose other than to fill time. The so-called comedy scenes, intended to be the film’s saving grace, largely fall flat. The “jokes” feel dated, often relying on body shaming or repetitive gags that might have worked two decades ago but feel cringe-worthy in 2026.
Moreover, the pacing is atrocious. At over three hours, the film drags interminably. Entire sequences—such as the romantic interludes with the three female leads—could have been excised without affecting the plot. The editing by Kotagiri Venkateswara Rao leaves much to be desired, failing to trim the fat from a bloated narrative.
Performances: Star Power Wasted
Prabhas tries his best. There are fleeting moments where his natural charisma and comic timing shine through, reminding us of his ability to carry lighter roles. However, he is let down by inconsistent characterization and, shockingly, inconsistent styling. In several scenes, he looks “disinterested and fatigued,” and the reliance on body doubles for action sequences is distractingly obvious.
The veteran actors fare slightly better but are hamstrung by the script. Sanjay Dutt, as the menacing Kanakaraju, brings gravitas and a formidable screen presence, but his character is one-dimensional—a generic villain with a lust for power. Zarina Wahab delivers the film’s only emotionally grounded performance as the ailing grandmother, bringing dignity to a melodramatic role. Boman Irani appears briefly as a paranormal expert, a plot device more than a character, meant to explain the film’s convoluted logic about “self-hypnosis.”
The treatment of the female leads is particularly disappointing. Malavika Mohanan, Nidhhi Agerwal, and Riddhi Kumar are reduced to mere props. They are there to look glamorous in impractical designer wear while navigating a haunted jungle mansion. Their characters lack agency, depth, or meaningful contribution to the story, serving merely as “cinematic accessories” for the hero to rescue or romance.
Technical Aspects: A CGI Eyesore
For a film with such a massive budget, the technical standards are surprisingly low. The Visual Effects (VFX) are inconsistent and often jarring. The reliance on green screens is painfully evident, making the world of The RajaSaab feel artificial and “plastic.” Instead of immersing the audience in a spooky atmosphere, the visuals create a distance, making it impossible to buy into the horror elements.
Musically, Thaman S delivers a forgettable soundtrack. The songs pop up at awkward moments, killing whatever little momentum the film builds. The background score is oppressively loud, mistaking deafening noise for dramatic impact.
Verdict
The RajaSaab is a monumental disappointment. It is a film that had everything going for it—a superstar lead, a massive budget, and a genre with immense potential—yet it squanders it all through sheer lack of vision. It is a “lazy, dated, and tedious watch” that tests the loyalty of even the most die-hard Prabhas fans.
When the credits roll, teasing a sequel titled The RajaSaab: Circus, it feels less like a promise of more entertainment and more like a threat.
CINEMA SPICE RATING: ★★ (2/5)