King Fish

Bhaskara Verma is a well-known real estate broker in Kochi. Varma, nicknamed Broker Bhasi, lives with bodyguards, acolytes and trusted friends. Then advocate Kuruvila comes to Bhasi. Kuruvila did not listen to anything Bhasi said, but finally Bhasi heard what he said. His uncle Dasharathavarma bequeaths the Devagiri estate worth ninety crores and his own house and land to Ananthiravan. There is only a demand that Bhasi should go to Devagiri estate and take it over. Bhaskara Varma, who quarrels with his uncle and moves with his family, finds it difficult to go back, but he decides to leave due to his greed for money. But still there is a problem, Bhasi's uncle is single. Bhasi cannot enter the presence of his uncle unmarried who has predicted that Bhasi will live unmarried like him. Bhasi's friends are finding a way for that too.

Bhaskara Varma is a land man who was beforehand a substance engineer. One day a supporter visits him and lets him know that his uncle Dasharatha Varma has plans to compose his will, and Bhaskara Varma will get his uncle's properties worth Rs 90 crores (or was it 9 crores?) assuming he consents to visit him. A harsh past makes Bhaskara Varma hesitant initially, however the enticing idea of the proposition makes him go there. What occurs during that visit is what we find in Lord Fish. When the film arrives at the span block, you will nearly fail to remember what the focal person's calling is. Good one.

Get a camera. Shoot something. Regardless of how little, regardless of how messy, regardless of whether your companions and your sister star in it. Put your name on it as chief. Presently you're a chief. Incredible chief James Cameron has expressed the above lines to the people who are reluctant to take that first action towards making a film. I think Anoop Menon has applied that way of thinking in making highlight films like Padma and Ruler Fish. In films like Lovely and Trivandrum Cabin, those exchanges were upheld by scenes that requested those discoursed, and, surprisingly, the successions had that associated feel. It was around the time he made Ente Mezhuthiri Athazhangal that the motion pictures began to seem like stages for him to introduce his haphazardly written methods of reasoning.

Straight forward yet philosophical discoursed were consistently brand name stuff that made Anoop Menon films appealing. In films like Delightful and Trivandrum Cabin, those exchanges were upheld by scenes that requested those discoursed, and, surprisingly, the successions had that associated feel. It was around the time he made Ente Mezhuthiri Athazhangal that the motion pictures began to seem like stages for him to introduce his arbitrarily written ways of thinking. Assuming that you attempt to portray the account of Lord Fish to somebody, you can undoubtedly avoid the exchanges. As a matter of fact, you could in fact skip successions and characters in this film as it never irritates the principal story.

The movie gets a few things right - the Ranjith character, the coming back to childhood home - nostalgia angle, and the things that happened in the house (not the cringeworthy flirting dialogues mouthed by Anoop himself). But some passable scenes here and there without any coherence or contribution to the main revenge plot (which we know is the main plot in the last few minutes ) doesn't make for a good watching experience. The initial gangster portion, the dialogues on the whole and the final act were underwhelming and I honestly enjoyed nothing in those portions. The boyfriend - girlfriend break up scene was too comical and artificial - though they seem to have been in a living together relationship which is a very progressive thing nowadays isn't it? Putting that into a movie must make it progressive too - or so someone had thought.

Overall - watch if you don't have nothing else to do - Anoop Menon is a good actor, a bad screenwriter and a bad director. He needs to concentrate more on acting IMHO.