Word: tetzlaff
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...HEART AND ONE SOUL. Hen Alfred Tetzlaff is the hero of West Germany's hottest new situation comedy. He is a first cousin to both All in the Family's Archie Bunker and his relative, Alf Garnett of the BBC comedy series Till Death Us Do Part. Herr Tetzlaff is a slobbish, slipper-shod metalworker. Married to an addled blonde whom he calls "dumb cow," he has a jeans-wearing daughter and a liberal son-in-law. He deplores long hair, beards and miniskirts, surefire signs of Germany's moral decline. He also dislikes almost everybody, especially...
...show's producer, Wolfgang Menge, is "more malicious, less human, more vulgar" than his American counterpart. The cocky, mustachioed Alfred was intended to be loathsome, and to impress his estimated 27 million viewers as such. Instead, his tirades have inspired a flood of laudatory mail: "Dear Herr Tetzlaff, you spoke right out of my heart," or "Keep on! You have millions of people on your side." Archie Bunker, when he first appeared, got his share of similar support, but-in the eyes of a critical national and foreign press, at least-Archie's popularity was not quite...
Aside from the novelty of watching Macready drop a couple of men in their tracks like deer in Sherwood Forest, Allegro is notable for only one thing. It was directed by Ted Tetzlaff, whose sensitive work in a current minor thriller called The Window entitles him to something better than such conveyor-belt assignments...
...Schary before he joined MGM, it combines a neat story by Cornell Woolrich, competent playing by twelve-year-old Bobby Driscoll and four relatively unknown actors, and some expert camera work in the brownstone jungles of Manhattan's East Side tenements. Smoothly mortised and joined by Director Ted Tetzlaff and Producer Frederic Ullman Jr., The Window emerges as a fast little thriller full of grade A qualities...
...Director Tetzlaff has cannily short-circuited the improbabilities of the script by documentary-like handling of Bobby's home and environment. Bobby, particularly in his moments of open-mouthed terror, is a reminder that child cinemactors can be used effectively for other things than wringing hearts and tears...