The term "overlooked films" appears to be very subjective, as many of the suggestions I've read don't seem overlooked to me, due to the books I've read, the film classes I've taken and the interests in my group of film friends. As far as the general public is concerned, many films very familiar to film scholars and film buffs (for example, I WALKED WITH A ZOMBIE or GUN CRAZY) are still pretty unknown, though video availiblity has made them more accessable. To try and find films outside the realm of the general public and scholarly discourse, I think some of the following films might fit the bill: THE KID BROTHER (1927, dirs: Ted Wilde & J.A. Howard) Harold Lloyd comedy that I think is stronger than his more famous features (such as SAFETY LAST). Cinemax showed it recently during a Lloyd retrospective (with a print lovingly restored by Brownlow and Gill and another great score by Carl Davis); otherwise, I might never have run across it. Lloyd is already overshadowed in critical circles by Keaton and CHaplin, and THE KID BROTHER doesn't have any standout "gags" as SAFTEY LAST and THE FRESHMAN do, but the narrative is stronger, as is his character development... and there are some creative gags nicely integrated into the story. Not on video. RIDE LONESOME (1959, dir: Budd Boetticher) Although this film is out on tape (Goodtimes, slow speed) the film is a scope production and the pan-&-scan print doesn't do it justice. One of the many films Boetticher directed from Burt Kennedy scripts, featuring Randolph Scott, it is his best: austere, poetic, apparently simplistic but underneath quite rich in character and feeling. Boetticher uses many long, uninteruppted takes, often running entire scenes in a single shot, dissolving to a transition shot or transition montage, that back to a single shot scene. THe landscape changes over the journey undertaken by the characters, setting the tone for the scenes played out among the rocks, in the desert or by a calm stream. It's stunning, a powerful film unjustly neglected. These next fwe are more widely written/talked about: THE BIG COMBO (1955, dir: Joseph Lewis) Less showy than GUN CRAZY but possibly more intense, with stunning visuals by John ALton and more sustained tension. WILL SUCCESS SPOIL ROCK HUNTER (1957, dir" Frank Tashlin) Tashlin's best film, a satire on advertising and media representation with gags aplenty. THough shot in scope I've only seen it pan-&-scan, but it's still clever and full of invention. Not on video, but it used to show up in AMC's rotation on cable. RIDE THE PINK HORSE (1947, dir: Robert Montgomery) Recently covered in a FIlm COmment articel, which may disqualify it for consideration here, though I think it's a fine, understated film whosr studio-bound settings actually intensify the oppressive feeling through the film as the cocky hero finds himself less prepared than he thought but finds help all around him. Not on video. My picks, for what it's worth Yours in cinema, Sean Axmaker [log in to unmask]