Yes. I think his trouble is that he's no Buster Keaton and there apparently isn't room for more than a couple of the silent film stars to be remembered this far down the line. Speedy, and especially Safety Last are both wonderful movies. Him hanging from the clock in the latter ranks up there with many of Keaton's great setpieces.
I've only seen Safety Last! (for the first time last year)....it's an essential must-see silent comedy. Orson Welles called it "impeccable." Taking the Horatio Alger myth, Lloyd creates such a briskly paced, effervescently wonderfully gracefully screwy film....but one that has underslung thematic heft: man's aching need to appear successful (or to achieve the "feat" of success) and as well there's municipal hierarchy, fear of humiliation or emasculation, public spectacle, etc.
Ebert's writeup is really interesting. Here's an excerpt:
"I could understand why Lloyd outgrossed Chaplin and Keaton in the 1920s: Not because he was funnier or more poignant, but because he was merely mortal and their characters were from another plane of existence. Lloyd is a real man climbing a building; Keaton, as he stands just exactly where a building will not crush him, is an instrument of cosmic fate. And Chaplin is a visitor to our universe from the one that exists in his mind."
Love him. The man really does deserve to be remembered as Buster and Charlie are, and even though he still endures, his wattage still feels a tad more muted nowadays than the other two. And it's a real shame, because I think inherently, he was a stronger actor than the other gents (as great as they were).
I'm a big fan of Harold Lloyd, though I would still probably put Buster Keaton and Charles Chaplin ahead of him. My favorite of his works is probably The Freshman, but even with the introduction of sound that pretty much killed Buster Keaton's career, Harold Lloyd still made his style work with Welcome Danger mainly because he wasn't as reliant on physical humor and stunts as much as the other two (obviously Chaplin notoriously made sound work to his advantage better than anyone, but still...).
Love the Roger Ebert quote that Mattsby provided. It's pretty accurate to why Harold Lloyd is still so timeless (even if the world around him becomes dated). He also had incredible harmony in his rhythm where it almost felt like every slip, trip, or fall was perfectly coordinated but still seemed incredibly natural (look no further than A Sailor Made Man for proof). And it was nice that he tended to use a lot of regular actors in his film as well (always a pleasure seeing Noah Young show up, and of course the lovely Jobyna Ralston) which made you think he's probably a pretty great guy off-screen too.