A comparison between Carne and Renoir helps us to capture fully a sense of his aesthetics. While Michael Carne developed his hand at the cinema at the safe bustle of the studio, Renoir began to refine, readapt and shape his skills of cinematography at the various locations of shooting. Renoir’s esthetic expertise extends over all genres of contemporary cinema. The third decade of the 20th century saw him reach the zenith of his artistic excellence. He produced works on varied generic strains of the film noir as well as realistic cinema. Among acerbic, biting satiric comedies, we have Le Chienne (The Bitch, 1931); Madame Bovary (1933), A Day in the Country (Une Partie de Campagne, 1936, released 1946) and his famous work The Human Beast (1938) is Renoir’s successful ventures into literary adaptation are interpretation. Boudu Saved from Drowning (1932), on the other hand, is a lighthearted and entertaining cinematic improvisation of sorts. Among his other notable works, Toni (1935) is a meaningful social contract along with the war satire Le Grande Illusion (Grand Illusion, 1937), the political manifestos La Marseillais (1937) and The Crime of Monsieur Lange and satiric social commentary in the 1939 movie The Rules of the Game. (Lanzoni 2005) Renoir had always distinguished between the inner and outer realism, as evident from his interviews. (Durgnat 1974) Inner realism, according to him expressed the deep-felt instincts and fantasies of one’s own self while the outer realism depended mostly on the physical locations and activities within the film sets. The photography of the surrounding geographical setting and the trope of amateur acting2 also exerted an important influence on Renoir’s cinematic arts. With his intellectual background and wide knowledge of art and literature, Renoir used inter-textual references about Chaplin, Zola, and Marivaux in the application as well as explication of his aesthetics. Toni (1935): Aestheticism and Social Commentary The 1930s were turbulent years. One of the most fateful decades in the history of the world, it saw economic and political upheavals that changed the course of humanity. Many of Renoir’s films encapsulated this prevailing sense of doubt in the poverty-stricken, war-torn world of the 30s, through an eclectic approach that spanned both silent and sound cinema, ranging from social critique to pure satire. (Lanzoni 2005) Given the turbulent political conditions of the mid-years of the 1930s, Toni (1935) holds a special position in the coterie of Renoir’s films. Adapting to the tricky technical and artistic transitional dynamics of the cinema, as the world shifted from the silent era to the talkies, Renoir found a liberating sense of openness and communicative harmony in his sound films. (Lanzoni 2005) Toni illustrates with particular sensitivity and brilliance the diverse nature of this proficient filmmaker. As pointed out in the previous articles, Renoir’s overemphasis on aesthetics of the cinematic art was legendary. In Toni, as well, the textural sensuality and vision of the artist prevail over the grim subject matter at the heart of the film. Toni envisions Renoir’s early artistic assays.