One of the anniversaries marked in the timeline of 1909 posted here on the first day of the year referred to the birth this year futurism. Specifically, on February 22, 1909 the poet Filippo Tommaso Marinetti announced in the pages of Le Figaro its Futurism Manifesto du . It rejects the tradition and the past and celebrates everything that has to do with the progress of this and especially the future, as the speed, violence and the worship of machines and industrialization. Had influence on literature, music, visual arts and film. In the latter art was not so important as to the titles that were part of the futurist movement completely (some in Italy and Russia) which had the vision (especially his exaltation of modernity and the pace of the cities, as in the film by Vertov and Ruttman). Arnaldo Ginna and Bruno Corra started around 1911 the first experiments in futuristic movies with what they called "chromatic music." In 1916, the film presents Ginna futuristic Vita, which was accompanied by a cinematic manifesto of futurism , published on 11 September of that year, in the rejection of melodrama, arguing for the mixture of forms of expression and experimental use of film.
precisely in a book highly recommended for this use, history of experimental film (1971), of Jean Mitry, I had the chance to know of the existence of evidence of Anton Giulio Bragaglia called Thais, "based" on the novel by Anatole France, in the chapter "Futurism, Expressionism and Cinema", which not puts futuristic side, but closer to cubism and abstraction, mainly in the final hand decorated by the artist Enrico Prampolini. Bragaglia (1889-1960) was essentially a man of theater, art, incorporating elements of film. His ties to Futurism was more in his photographic work, which was called Fotodinamismo , in which the protagonist was the movement itself (as in the portrait than did G. Bragaglia Bonaventura around 1912, attached to this paragraph). Thais offers some traces of this deformation photography, especially in the scene depicting a small party, with the camera focusing and defocusing of the characters. 
Prampolini (1894-1956), meanwhile, was a painter and decorator who, despite their allegiance to the futurist movement in 1912, was more related to cubism and constructivism. He is responsible for the start of the film, where the aristocrat who calls presented to the public Thais, smoking and playful attitude in front of a door with geometric motifs. For this door was probably the model of Ishtar, where the original novel by Anatole France is set. It is also true of some elements of the set as curtains or clothing (especially socks Thais). But especially his work focuses on the end, with the delirium and death of Thais, surrounded and eventually taken over by a stage of concentric geometric figures increasingly oppressive.
is the finishing touch, and best remembered, a title whose central and least commented works like the spoof divas. So here it Thaïs Galitzky a character as affected by emotions as interpreted by the Lyda Borelli, for example, first frivolous tone, playing with the feelings of the procession of suitors (or puppets) who followed him (including his cousin Oscar and the Count of San Remo), and then tragic tone, after being aware of the tragic impact of his game, both in the count as another woman, Blanca. The procession of suitors all with bowler hat and walking one after another in a line or scene in which they keep to Thais, are examples of the relationship is to be drawn here between parody and melodrama of some leading divas of the absurd much before it had a weight as a term of art.
Thais is a marginal title in the Italian cinema in terms of their impact, yet need to understand that not everything was going in one direction in this film, who, like most commercial film of that era was a new medium for people of theater, avant-garde cinema was a new vehicle for artists, photographers and poets for their expressive and ideological concerns. The latter, incidentally, in the case of Italian Futurism, eventually linking up with fascism. Speed \u200b\u200bthings and the future ... 
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