"I am not a pessimist; to perceive evil where it exists is, in my opinion, a form of optimism"
About this Quote
Rossellini’s line flips the usual self-help binary on its head: optimism isn’t a mood, it’s an ethic of attention. He’s rejecting the soft-focus version of hope that requires mislabeling reality as “not that bad.” For a director who made his name in the wreckage of postwar Italy, that’s not contrarianism for its own sake; it’s a survival philosophy. If you can name the evil, you’ve already refused its most effective weapon: normalcy.
The phrasing is quietly combative. “I am not a pessimist” reads like a preemptive defense against critics who mistake clear-eyed depiction for cynicism. Then he smuggles in the real thesis: “to perceive” is the active verb. Perception becomes moral labor, not passive observation. He’s arguing that blindness is the true despair because it concedes the world to whatever violence, corruption, or cruelty is currently winning. Seeing is the first step toward agency.
There’s also a filmmaker’s subtext here: representation isn’t wallowing. Neorealism, at its best, refuses propaganda’s comfort and melodrama’s easy catharsis. Rossellini’s “optimism” is structural, not sentimental: you show what harms people so the audience can’t hide behind ignorance or abstraction. In that sense, the quote doubles as an artistic manifesto and a political warning. Calling evil “evil” is not negativity; it’s a bet that truth still has leverage, that consciousness can still be converted into responsibility.
The phrasing is quietly combative. “I am not a pessimist” reads like a preemptive defense against critics who mistake clear-eyed depiction for cynicism. Then he smuggles in the real thesis: “to perceive” is the active verb. Perception becomes moral labor, not passive observation. He’s arguing that blindness is the true despair because it concedes the world to whatever violence, corruption, or cruelty is currently winning. Seeing is the first step toward agency.
There’s also a filmmaker’s subtext here: representation isn’t wallowing. Neorealism, at its best, refuses propaganda’s comfort and melodrama’s easy catharsis. Rossellini’s “optimism” is structural, not sentimental: you show what harms people so the audience can’t hide behind ignorance or abstraction. In that sense, the quote doubles as an artistic manifesto and a political warning. Calling evil “evil” is not negativity; it’s a bet that truth still has leverage, that consciousness can still be converted into responsibility.
Quote Details
| Topic | Optimism |
|---|---|
| Source | Help us find the source |
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