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Distribution and Rights:

A Maysles Films Inc. Production
© Home Box Office

Rights Reserved to Home Box Office

Available through

Key Credits:

Directed by Susan Froemke and Deborah Dickson with Albert Maysles
Cinematographer Alber Maysles
Producer Susan Froemke
Edited by Deborah Dickson
Filmed by Albert Maysles
with additional photography by Jim Dollarhide
Co-producer Douglas Graves
Associate producers Charles Loxton, Xan Parker, Susan Sloan
Original music by Gary Lucas
Executive producer for HBO Sheila Nevins
Producer for HBO John Hoffman

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"She was the main character of the film Lalee's Kin broadcast on HBO. Lalee was a most caring, devoted mother and grandmother, taking extraordinary responsibility in tending to the needs of both immediate and extended family. As a maker of the film I felt totally obligated to give her the kind of care she gave her children extending as best I could my heart and talent behind the camera. Once the film was finished we brought the film to her trailer for her viewing. Upon seeing the film she commented, "That's the truth." And had just one complaint--"couldn't you have made it longer?"

--Albert Maysles

If anyone would like to contribute to the funeral costs for Lalee please send checks to:

Sister Joanne Blomme
c/o the Tutwiler Clinic
205 Alma Street
P.O. Box 462
Tutwiler, MS 38963

Your greatly appreciated donation will help support additional funeral expenses for Lalee as well as the Tutwiler Clinic near her house--one of the few health clinics in this rural area of Mississippi. Please indicate that you would like to donate in Lalee's name.



©2000, a film by Susan Froemke, Deborah Dickson
and Albert Maysles,
88 mins

Film Synopsis:

LaLee's Kin takes us deep into the Mississippi Delta and
the intertwined lives of LaLee Wallace, a great-grandmother
struggling to hold her world together in the face of dire poverty,
and Reggie Barnes, superintendent of the embattled West
Tallahatchie School System. The film explores the painful
legacy of slavery and sharecropping in the Delta.

62 -year old LaLee Wallace is the lifeblood of this film. Matriarch
to an extended family that moves in and out of her house, LaLee
is a woman of contradictions and hope. "Could have been worse,"
she says quietly, surveying the rat- and roach-infested trailer she
has been granted through a government program after her own
house was condemned.

Wallace grew up in a family of sharecroppers; she began picking
cotton at the age of six, stopped attending school a few years
later, and still cannot read. As happened throughout the South,
sharecropping gave way to low-paid labor, but with the enforcement
of minimum wage laws and increasing mechanization, even those
jobs were hard to come by. Without education or skills, Wallace
and other residents of Tallahatchie County had few options, and
the poverty and hopelessness they felt was passed down to the
generations that followed. The film also profiles educator
Reggie Barnes, who is determined to stop this cycle.

Barnes was hired as Superintendent of Schools in West Tallahatchie
in an effort to get the school district off probation, where it was
placed by the Mississippi Department of Education because of poor
student performance on statewide standardized tests (the Iowa
Test for Basic Skills, ITBS). If Barnes fails to raise the school from
its current Level 1 status to a Level 2, the state of Mississippi has
threatened to take over. Barnes and his faculty oppose this, fearing
that administrators in far-off Jackson would not do as well in
addressing the special needs of the community. "It's a different
world," he says. "We get kids in kindergarten who don't know their
names; we get kids in kindergarten who don't know colors; we get
kids in kindergarten who have never been read to." He adds,
"If we can educate the children of the illiterate parent, we stop
this vicious cycle."


LaLee's Kin adheres to the rigorous and sober-minded Maysles
brothers' tradition of presenting things as they are without
editorializing. The balance between feeling and distance is
never a contradiction here but, rather, the dynamic that makes
this film an especially humanistic entry in the Maysles canon."
--Robert Koehler, DAILY VARIETY, 2001


Premiered at the Sundance Film Festival where it won the Best
Cinematography award in the Documentary Competition.