Like all brilliant comedies, A Fish Called Wanda is remarkably well-written, perfectly cast, has fantastically funny dark moments and a sadistic sense of ruthless humour. As the film's classic tagline sums it up, it is: 'A tale of murder, lust, greed, revenge, and seafood.'

What sets it apart, however, from the run of the mill must-watch bit of comic genius, is the plot. One of the best-crafted and hilariously intricate plots in comedy, it makes the film one for the ages, an undying work of lunacy that defies both convention and description. In short, this is arguably the funniest film of all time. Well, at least it's right up in the top three.

Wanda, correcting Otto: "The London [Images] Underground is not a political movement."

Wanda also is a follow-up of mercurial proportions. When a few lads from England's [Images] finest universities banded together to form a marvellously inane comic troupe called Monty Python, most of them hit peak, becoming cult characters forever. John Cleese [Images], thankfully, did not, going from BBC TV strength to BBC TV strength as he created Fawlty Towers, a 12-episode masterpiece that, thanks to plot detailing and his own relatably rude acting, is widely regarded the finest British sitcom of all time.

While Wanda's directorial credit goes to Charles Crichton, best known for the 1951 classic The Lavender Hill Mob, it is generally considered a tribute for the then-78 year old veteran, with Cleese largely helming the 1988 film himself. The actor wrote the film, roped in spectacularly amusing Python alumnus Michael Palin, made some inspired casting decisions, and got set to break Hollywood. And what a splash A Fish made.

But on to the hilarity. The film is about a robbery, orchestrated (or so he believes) by George Thomason, played by (and the jokes begin) Tom Georgeson. Aided by his stammering, animal empathising assistant Ken (Palin), Thomason is all set to rob a jewellery store. His new girlfriend, however, seems to have taken things in her own hands. Jamie Lee Curtis [Images] plays the irresistible Wanda, as fatale as any femme you can remember, who brings him her brother, Otto (Kevin Kline), a rather suspect 'weapons man' for the job.

As is soon more than evident, Otto is not her brother. He's a deeply disturbed Nietzsche lover with great aim, an anger problem, and an Italian accent that makes her melt into his arms. The diamonds nabbed, the tale turns to one of crossing and double crossing as Wanda and Otto rat on Thomason, tossing him in jail. But all is not well, for Thomason has hidden the keys to the safe. Fiercely loyal (and justifiably ill at ease), Ken isn't ready to spill the beans, even as Otto and Wanda each try to seduce him.

Wanda: "I'm sorry about my brother, Ken. I know he's insensitive. He's had a hard life. Dad used to beat him up."

Ken: "Good."

And then, there's Archie.

John Cleese is Archie Leach (Cary Grant's real name, by the by), a barrister living a humdrum British life, beset with domineering, malcontent wife Wendy (Maria Aitken) and bratty daughter Portia (Cynthia Cleese, John's own flesh and blood). Thomason happens to be Archie's latest client, and this is where Wanda, posing as a smitten law student from America, enters, in a quest to extract knowledge about the valuables.

The plot thickens deliciously, Otto's jealousy, Ken's confusion, Archie's coming into his own, and Wanda's increasingly genuine affection, merely framing the superbly written dialogue. The film oscillates through sublime one-liners and deft verbal jabs. In a moment where Wanda is trying to express just how stupid 'her brother' Otto is to Archie, she laughs, 'When I told him [Otto] your daughter was called Portia, he asked, 'Why did he name his daughter after a car?'', riffing delightfully on the common American mispronunciation of Porsche.

As the story bubbles excitedly towards a climax, everything seems a highlight. From Otto's uncontrollable outburst when he realises Archie is burgling his own house, to Ken's varied attempts at terminating an old-lady. From Wanda's newly discovered love for Russian to Archie caught cavorting in the nude and making it worse by covering up in the most inappropriate way possible. From the attempts to get hold of Wanda's necklace, to Otto's omnipresent, almost sing-song "A*****e!" outburts.

But this is a film about a fish, is it not? Sure, because the fish Ken fondly calls Wanda is the center of all attention, literally treasuring the key to the diamonds herself for a while. And then there's the glorious grand finale of sorts, quite possibly the funniest torture scene ever shot, involving obnoxious cruelty to the orally-challenged Ken (Palin later founded the London Centre for Stammering Children) as Otto takes it upon himself to execute fishy threats. Unbelievable, with Kevin Kline picking up a much-deserved Oscar for his magnificent performance.

Otto: "What was the middle thing?"

A Fish Called Wanda is a truly fine film, the kind of gem that gets better every dozen viewings. Go watch it again.