Coolie No. 1 First Posters: Varun Dhawan, Sara Ali Khan will leave you excited and wanting for more

0
1726

Coolie No. 1 remake has been in the discussions from quite some time now. The shooting of the film starring Varun Dhawan and Sara Ali Khan kicked off in Bangkok last week. The film happens to be the 45th film David Dhawan and is the remake of the 1995 comedy film that had Govinda and Karisma Kapoor. The makers had previously shared the teaser of the film that had both the actors but their faces were not revealed but now the wait is finally over as the official posters have finally been released.

The Badlapur actor took to his Instagram handle to share the motion poster of his upcoming film. He looked quirky in the iconic coolie uniform having red shirt and white pants. While the another roster also has Sara in her glamorous avatar. Varun captioned the post as, “COOLIE NO 1. May1st 2020​ Haat jao baju aya Raju.” Meanwhile, Sara wrote a very funny caption along with it which said, “Paranthe ke saath moo-lie, Entertainment mein ghuse ful-lie, Kal mein nahi bhool-lie, Laane aapkeliye the first look for coolie, #sarakishayari (The humour in our film is better than mine, I promise.”

Check them out:

The movie will also have the iconic ‘Bhelpuri’ song. In an interview to Indianexpress, Varun said, “Why I wanted to do this film is because when I watched Coolie No 1, I was so entertained. I had such a good time watching it. It is a family film. It is one of the funniest and most entertaining films I have ever watched. It has an amazing screenplay and starred brilliant actors. We are adapting it. It is not a remake.”

The makers are working out really hard to bring the essence of the original film. David Dhawan in an IANS interview said, “After re-watching the original, I started working on the script. For six months, I wondered if I should make it or not. Finally, I decided to adapt it. It’s actually a new film. I’ve worked on it for almost a year with the original writer Rumi Jaffery on the screenplay and Farhad Samji on the dialogue.’