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Miss Lulu Bett -- Miss Lulu Bett


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Clara Beranger (adaptation)
Zona Gale (novel) (play)
View company contact information for Miss Lulu Bett on IMDbPro.
Release Date:
November 1921 (USA) See more »
Wlliam deMille produced and directed Miss Lulu Bett, a film of extraordinary conviction and insight... See more » | Add synopsis »
1 win See more »
User Reviews:
Powerful Drama Told With Restraint See more (7 total) »


  (in credits order)

Lois Wilson ... Lulu Bett
Milton Sills ... Neil Cornish
Theodore Roberts ... Dwight Deacon

Helen Ferguson ... Diana Deacon
Mabel Van Buren ... Ina Deacon
Mae Giraci ... Monona Deacon (as May Giraci)
Clarence Burton ... Ninian Deacon
Ethel Wales ... Grandma Bett
Taylor Graves ... Bobby Larkin
Charles Ogle ... Station Agent
rest of cast listed alphabetically:
Peaches Jackson ... Child (uncredited)
Carrie Clark Ward ... Gossip (uncredited)

Directed by
William C. de Mille 
Writing credits
(in alphabetical order)
Clara Beranger  adaptation
Zona Gale  novel (play)

Produced by
Adolph Zukor .... producer
Cinematography by
L. Guy Wilky 
Other crew
Adolph Zukor .... presenter

Production CompaniesDistributors

Additional Details

71 min
Aspect Ratio:
1.33 : 1 See more »
Sound Mix:

Did You Know?

Zona Gale re-wrote her novel into a play, which was first produced by Brock Pemberton at the Belmont Theater, New York. The premier took place on 27 December, 1921. The following cast was featured: Carroll McComas as Lulu Bett, William Holden as Dwight Deacon, Catherine Doucet as Ina Deacon (billed as Catherine Calhoun Doucet), Jack Lionel Bohn as Bobby Larkin (billed as Jack Bohn), Willard Robertson as Neil Cornish, Louise Closser Hale as Miss Bett (misspelled as Louis Closser Hale), and Brigham Royce as Ninian Deacon, plus Lois Shore as Manona Deacon and Beth Varden as Diana Deacon.See more »
Introductory Title:The greatest tragedy in the world, because it is the most frequent, is that of a human soul caught in the toils of the commonplace. This happens in many homes where family ties, which could be bonds of love, have become iron fetters of dependence.See more »


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19 out of 19 people found the following review useful.
Powerful Drama Told With Restraint, 4 January 2006
Author: bclaireburchill from United States

We may never know exactly how good or bad a director William C. de Mille was. Only a handful of his films survive and only one of the surviving films, "Miss Lulu Bett", is revived with any regularity. But if a director is going to be known by one film, he or she could do much worse than "Miss Lulu Bett."

The film is a fine example of film-making on a small scale. Little touches remind audiences of the simple beauties of the moving image art form. There is the image of the lonesome and shy Lulu (played by Lois Wilson)unfurling her hair on a staircase. There is the image of Lulu and her lover Neil Cornish (Milton Stills) talking under a bower strewn with flowers. These images of delicate beauty show what carefully chosen props and settings can do to make a film with a modest budget look classy.

The story is interesting and it is not as old fashioned as some on-line reviewers have suggested. Lulu is not physically abused or held in captivity. She is abused psychologically by her overbearing brother-in-law, and her captivity is a matter of economics: she simply has no money to live on her own. The belittling of women and economic inequalities are still important issues for women.

Some people may object to certain stylistic qualities of "Miss Lulu Bett". The film has a fast enough pace, but much of the story is told through title cards. I presume that the overuse of language is a hold-over from literature: "Miss Lulu Bett" was originally a popular stage play and novel. These title cards, however, are pithy and straight-forward; they never seem to interfere with the pace of the film in any way. Film critics who ignore the device in silent films may want to watch "Miss Lulu Bett" as an example of title cards used well.

In all, "Miss Lulu Bett" is a fine drama about a female survivor of abuse. The artistry is touching and low-key, but captivating all the same. It is truly a fine work from William C. de Mille, a director whose career is now almost erased from film history.

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