The Emperor of California: Nazi, Western or Trenker Film?

            While The Emperor of California definitely contains elements of Nazi film and a Western, I think it is most representative of Trenker’s films in general.  First of all, as we discussed in class, Nazi films often include a theme of a German protagonist leaving the homeland and eventually returning due to an overwhelming sense of loyalty and need to “fight” for the country.  They generally were meant to leave their predominantly-German audience feeling like home is not just a location but the essence of an individual, and better than any other exotic place in the world.  While Trenker did produce many films that embodied this theme, such as The Prodigal Son, I didn’t really get the impression that The Emperor of California was trying to achieve that end.  Although California, like New York City in The Prodigal Son, can often times prove harsh for Sutter throughout the movie, it doesn’t necessarily seem to be making the point that Sutter was better off in his homeland.  Therefore, while Trenker did make many Nazi-approved films rooted in ideology accepted by the Nazis, I would not classify The Emperor of California as one of them.  On that same note, I wouldn’t exactly characterize the film as a Western either, despite the fact that its set in the “American” west and centered around stereotypical cowboys.  I don’t know much about Western films, but from what I understand, they generally have a somewhat simple plot with a rogue, swaggering main character, which does not seem parallel to this film.  Sutter is certainly not the typical Western protagonist, nor is the plot a simple good guy versus bad guy melodrama.  That being said, from what we have learned of Trenker, I would classify the film as a “Trenker film” due to its use of geography and innovative film techniques.  The scene where he is depicted as “going to America,” where he is walking towards the ocean as he blends into it, seems very unique for a film of that era.  Furthermore, the pans of the scenery remind me of The Prodigal Son, and his impressive way of showing such a unique view of New York City.   Finally, Trenker is known for using geography to show audiences what is representative of “home,” and his depictions of the American west represent what he must have viewed as the antithesis to the capitalistic New York City.