Few stars in Indian cinema today command the kind of pan-India openings that Prabhas does. Yet, a closer look at his post-Baahubali box-office record tells a story the trade understands well: openings are no longer the issue — sustainability is.
Saaho was the first signal. It opened big across languages, rode initial curiosity, and recovered enough ground to avoid outright failure. But the film also exposed a crucial vulnerability — without narrative grip, even a Prabhas film bleeds sharply after the first weekend.
That warning was ignored with Radhe Shyam. Despite lavish production values and aggressive multi-language marketing, the film collapsed almost uniformly. The takeaway for the trade was blunt: genre mismatch plus weak content equals irrecoverable loss, irrespective of star value.
Adipurush escalated the risk further. Conceptually massive and culturally sensitive, it arrived with unprecedented expectations. While early collections were strong on paper, the film’s post-release reception was so damaging that long-term credibility — not just box-office returns — took a hit. For distributors, it was a reminder that negative word-of-mouth now travels faster than promotional spends can compensate.
The correction came swiftly with Salaar: Part 1 – Ceasefire. By leaning unapologetically into mass action, controlled world-building, and a familiar cinematic grammar, the film delivered what exhibitors wanted most: repeat audiences. It may not have been a critics’ darling, but it restored Prabhas’ reliability as a theatrical force.
Kalki 2898 AD took the recovery further — but with an important distinction. This was not a one-man show. As a multi-starrer mounted on a visionary canvas, Kalki worked because Prabhas was part of a universe, not the sole load-bearing pillar. The result: a global blockbuster and renewed confidence in large-scale Indian event cinema.
| Film | Saaho (2019) | Radhe Shyam (2022) | Adipurush (2023) | Salaar: Part 1 – Ceasefire (2023) | Kalki 2898 AD (2024) |
| Genre / Positioning | Action thriller, pan-India launch | Romantic drama, repositioning attempt | Mythological spectacle | Mass action franchise | Sci-fi mythological epic (multi-starrer) |
| Est. Budget (₹ Cr)* | 325–350* | 250–300* | 350–500* | 270–400* | ~600* |
| Worldwide Gross (₹ Cr) | 420–440 | 140–215 | 300–390* | 620–700 | 1,000–1,200 |
| Trade Outcome | Average to Semi-Hit (Hindi saved the film) | Flop | Trade Loss / Underperformer | Hit | Blockbuster |
| Critical Reception | Mixed | Negative | Largely Negative | Positive (mass-oriented) | Largely Positive |
*Note on sources: Figures are taken from public trade / reference pages (Wikipedia + trade reports and major news outlets) where numbers also vary between trade outlets.
For the upcoming release – The Raja Saab, expectations are calibrated realistically. A positive opening weekend seems almost assured. The real test will begin post-Day 3 — word of mouth, genre alignment, and execution will determine whether the film settles into blockbuster territory, remains a front-loaded performer, or…