When Anoop Menon’s character asks the maid about a closed door in the house, King Fish, the maid, says something insightful in the movie. Another housekeeper explains to him that she might have gotten that via Facebook or WhatsApp while he stands there perplexed by that remark. It’s possible that Anoop Menon included that meaningless comedy merely to make the movie entertaining. Anoop Menon crams all of his romantic and philosophical aspirations into an outmoded custom justice thriller.
King Fish is, at best, polished verbal diarrhoea with a haphazard narrative that picks too many unrelated subplots. However, Anoop Menon is unsure about where to start. In the end, all of the subplots he wishes to include in the film seem completely unrelated to the main theme. From the maid to the neighbour, a half-dozen new subplots are also revealed as the film changes to Dasharatha Varma’s mansion.
A hallmark of Anoop Menon’s films has always been their straightforward yet philosophical language. These speeches were reinforced by scenarios that required them in movies like Beautiful and Trivandrum Lodge, and even the sequences had a sense of unity. You can easily omit the dialogue from the King Fish fable when telling it to someone else. In fact, you can skip scenes and people in this movie because the core plot is never affected.
For your information, a reporter is looking into a writer going by the pen name King Fish in a completely other track (No points for guessing who that is). I like Anoop Menon’s boldness in presenting that shoddy subplot as a lesson on the true meaning of journalism for a page 3 reporter.
