‘The Raja Saab’ review: A promising horror-comedy undone by excess and indecision

Horror-comedy is among the trickiest of genres to pull off and it demands a careful balance between fear and laughter. “The Raja Saab,” directed by Maruthi and starring Prabhas, sets out with an intriguing premise and moments of genuine promise, but falters in execution. It is weighed down by excess and a lack of narrative clarity.

Known for films that blend humour and romance, Maruthi attempts to stretch his canvas with this ambitious project. The intent is evident in the film’s scale and visual design, most notably in the sprawling mansion that dominates the narrative. The structure itself is conceived as a character that is looming, enigmatic, and laden with secrets. Its cold corridors and shadowed interiors stand in stark contrast to the warmth of the relationship between Ganga Devi (Zareen Wahab), an Alzheimer’s-affected grandmother, and her grandson Raju (Prabhas).

This emotional bond forms the film’s strongest core. The quiet affection between the two, set against the unresolved mystery of a missing grandfather, offers fertile ground for a layered horror-comedy. Unfortunately, the film repeatedly drifts away from this central thread. The search for the grandfather, clearly intended as the narrative spine, is sidelined in favour of digressions that include disjointed conversations, ornamental subplots, and stylised action set-pieces that feel more performative than purposeful.

Several glamorous appearances, including by Malavika Mohanan, add little to the storytelling. Instead of deepening character or advancing the plot, these roles function largely as visual embellishments.

Thaman S’s background score captures the tonal duality the genre demands. Rather than relying solely on jump scares, the music heightens tension during action sequences, creating an interesting interplay between horror and spectacle. The songs are pleasant in isolation, but their placement within the narrative feels abrupt. Inserted as elaborate dance numbers, they interrupt rather than enhance the film’s rhythm, muting their individual appeal.

Visually, the film leans heavily on VFX. While some moments, particularly the spectral presence within the mansion, are striking, the film often veers into excess. Overworked visual effects undermine immersion and weaken the impact of what could have been genuinely unsettling sequences.

Prabhas brings an easy charm to Raju, but the writing offers him limited scope. Despite his proven ability to carry emotionally complex roles, recent films appear just to be relying on his pan-Indian appeal. The result is a performance that is engaging but underutilised.

At a time when regional horror-comedies have found success through grounded storytelling and cultural specificity, “The Raja Saab” aims for a broader canvas but loses its footing along the way. Its ambition is evident and its potential unmistakable. However, the film ultimately struggles to decide what it wants to be and leaves a promising idea only partially realised.