Even Prabhas Can’t Save a Weak Film

The eagerly awaited The Raja Saab is finally out after considerable behind-the-scenes drama. The early verdict, however, is far from encouraging. Audiences are largely underwhelmed. The plot feels undercooked, the pacing is erratic, and at over three hours, the film becomes an endurance test rather than an immersive experience. Adding to the disappointment are the special effects — crucial to the narrative, especially with Sanjay Dutt playing a ghost — which appear embarrassingly dated and tacky.

Looks like Prabhas may have another flop film to his name — after Saaho, Radhe Shyam and Adipurush — each one a bigger letdown than the last. Ironically, his only recent success, Kalki, saw him in a comparatively lighter role as comic relief.

Actors are as good as the film

Are filmmakers letting down Prabahs? His fiercely loyal fan base is livid with the director Maruthi Dasari for making their hero the fall guy for an awful film. They are hitting out at him on social media.

Veteran filmmaker Priyadarshan, who has worked across Malayalam, Telugu and Hindi cinema with some of the industry’s biggest names, believes the answer is simple. “A star is only as good as his film,” he says. “No star, no matter how big, can rise above weak writing and direction. Look at Akshaye Khanna. I’ve done six films with him — some worked, some didn’t. Was he ever less talented or committed before Dhurandhar? Not at all.”

Priyadarshan adds that while actors are often advised to choose scripts carefully, the process is far from foolproof. “I tell my daughter Kalyani the same thing. But how careful can one be? Not every film can be a blockbuster. Failure Fridays are inevitable.”

Trade analyst Taran Adarsh agrees that perception in Bollywood is brutally result-driven. “Largely, yes — stars are judged by their last few releases. Box-office memory is short, and narratives change overnight. Dhurandhar has reset the conversation for both Ranveer Singh and Akshaye Khanna. Their market value has surged because the last product worked. You’re only as good as your last film — until the next one rewrites the narrative.”

Producer and trade expert Girish Johar points to changing audience behaviour. “Today, content is king. Consumption patterns have changed, attention spans are shorter, and instant gratification rules. Product priority comes first, irrespective of the actor. A star is merely an added advantage, not a guarantee.”

Mahesh Bhatt puts it bluntly. “Prabhas did not fail Adipurush — the film failed him. When my son-in-law Ranbir Kapoor plays Lord Rama, his success will depend entirely on the quality of the film. No star can guarantee success. I worked with stars like Nagarjuna and Vinod Khanna in Criminal and Lahu Ke Do Rang, and I failed them. Saaransh, with a then-unknown Anupam Kher, remains one of my finest achievements.”

Filmmaker J.P. Dutta echoes the sentiment. “Look at Ranveer Singh and Ranbir Kapoor. What happened to their careers before Animal and Dhurandhar? It is the script that speaks to the audience. The star comes later. Not even Marlon Brando could save Mutiny on the Bounty.”

In the end, The Raja Saab doesn’t just falter as a film—it reinforces a hard industry truth. Stardom may draw the audience in, but only strong storytelling can make them stay.