Getting favorable review from the very first movie he did, Waheed Murad had little time to think of failed films like Saaz-o-Awaz, in 1965. Rani had partnered him in that film on classical music. At that time, Waheed was excited about the formation of his team which was making Arman, so Rani; an ordinary, dusky girl was hardly on his mind. After that, of course, Waheed was totally taken up by his projects with a charming girl called Zeba. But, when he had gotten over his tragic parting with her, he started concentrating more on who he is being cast with. So, when next he crossed paths with Rani, in Hasan Tariq’s Devar Bhabi, he found her to be a very sensitive girl with good tastes. Although she was a vamp in the film, he felt that there’s a lot more style and body language to Rani than that unimpressive girl of Saaz-o-Awaz. The film did a golden jubilee in 1967. The next year, he acted in a remarkably light romantic flick with a triangle comprising of Shamim Ara, Waheed and Rani titled Dil Mera Dharkan Teri.
Their romantic pair was first tried in Maa Beta in 1969, which did a silver jubilee. Waheed’s chocolate charms had found a perfect magnetic appeal in Rani’s come hither, voluptuous form. They became the heart and soul of the screen. They know their cues, both expression-wise and with reference to the body lingo. Both Waheed and Rani considered Anjuman their best movie. In the grip of depressive fits, it was Rani who embraced him and gave him comfort.
After Anjuman, they did many films together, like Naag Muni, Baharo Phool Barsao, Naag Aur Nagin, Dilruba, Suraiyya Bhopali, Parakh etc. But after the 1970’s things were never the same, as the atmosphere changed in the studios and both Waheed and Rani became disillusioned before their eventual departure from the industry, and later untimely deaths.