Raja Saab Review: Fantasy-Horror With Missed Potential

Plot Overview

Raja Saab centers on Raju (Prabhas), a devoted grandson caring for his grandmother, Gangadevi (Zarina Wahab), who suffers from Alzheimer’s. She clings to the hope that her long-lost husband, Kanaka Raju (Sanjay Dutt), who disappeared years ago, will one day return. Driven by love and duty, Raju embarks on a mission to locate his grandfather.

His search brings him to Hyderabad, where he encounters Blessy (Nidhhi Agerwal) and Bhairavi (Malavika). What begins as a personal journey transforms into a mystery when Raju discovers that Kanaka Raju is living in a secluded house deep within Narasapur forest—a place shrouded in rumors of supernatural occurrences.

The story then delves into the enigma of Kanaka Raju’s disappearance, his true identity, and the eerie, possibly otherworldly events surrounding the forest house, forming the backbone of the film’s horror-mystery narrative.

Analysis and Themes

Familiar Horror Meets Folklore

Raja Saab adopts the classic horror framework: haunted mansion, supernatural intrigue, and suspense-filled encounters. Director Maruthi, previously known for exploring horror in Prema Katha Chitram, attempts to scale this template for a star like Prabhas, adding layers of fantasy and hypnotic elements. The result is a story reminiscent of Chandamama-style folklore, blending greed, deception, and generational revenge into its emotional core.

Execution Issues

Despite an intriguing premise, the film struggles in execution. The screenplay often loses momentum due to prolonged song sequences and predictable romantic interludes, especially in the first hour. The initial suspense, established through the opening “Satya episode,” raises curiosity but quickly dissipates when the narrative shifts to conventional hero-centric scenes.

The inclusion of three heroines appears unnecessary, slowing the story and leaving their characters underdeveloped. Romantic sequences feel perfunctory, and Prabhas’s dialogues occasionally lack clarity.

Comedy and Horror Shortcomings

Maruthi is typically celebrated for his comedic timing, but the humor in Raja Saab fails to land. Similarly, the horror elements rarely evoke fear. Characters inside the mansion display little concern for danger, which undermines tension and suspense. The threat posed by Sanjay Dutt’s Kanaka Raju remains ambiguous, leaving audiences disconnected from the intended fear factor.

Climax and Resolution

The film redeems itself slightly in the climax. From the hospital sequence onwards, the pace improves, and the mind-game aspect of the story gains some traction. The final 20 minutes are engaging, yet the prolonged buildup reduces the overall impact.

A major flaw lies in Kanaka Raju’s characterization. Introduced as a brilliant psychological expert, he ultimately relies on dark rituals for wealth, making the earlier buildup feel contradictory and confusing.

Performances and Technical Aspects

Prabhas exudes style and charisma, though inconsistencies in his look and visible body doubles detract from immersion. His hospital scene performance stands out. Among the female leads, Malavika receives more screen time and action sequences, while Nidhhi Agerwal and Blessy are less impactful. Sanjay Dutt appears underutilized, whereas Zarina Wahab delivers a solid performance. The comedic attempts by actors like Saptagiri and Prabhas Sreenu fail to elicit laughter.

The production design is impressive, with grand palace sets and partial success in VFX execution. Thaman’s songs, including “Nache Nache”, fall flat in theaters, and the background score occasionally feels overwhelming.

Verdict

Raja Saab aspires to deliver a pan-India fantasy-horror spectacle but falls short of its ambition. The mix of fantasy and horror is intriguing on paper, but inconsistent pacing, weak horror, and underwhelming comedy dilute the experience. While the climax injects some energy, the overall execution leaves the film below average.

Rating: Below Average

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Sorit Chaudhary

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