Bruno’s Homosexuality
It is coded in no uncertain terms that Bruno Anthony is a homosexual. His flamboyant attire and behavior, his parent relationships and Robert Walker’s brilliant acting all serve to reinforce this reading. This imagery must first be understood in terms related to mid-20th century American attitudes regarding homosexuality: if they can sleep with members of their own sex, they could be capable of anything. Beyond this broadly psychological stereotype, however, lies an acutely narrative justification for Bruno being coded as gay. Guy’s wife may not be the most beautiful female in a Hitchcock film, but there is no denying that she displays an explicitly sensuality. She may be called a tramp by Guy’s future wife’s little sister, but let’s be honest: promiscuity is not exactly a characteristic in women automatically rejected by men. By insisting before the fact that Bruno would not be enticed by such a woman—any woman—the imagery constructing his homosexuality makes the murder more believable. Otherwise, one might well have to wonder why Bruno was not in the slightest bit attracted to the quite obvious siren song she was directing his way.
The Prison Bars
Some criticize the sequences right after Bruno murders Guy’s wife in which the two men discuss that fact on the street in front of Guy’s apartment as being overly obvious. They talk near a gate iron fence which comes to look like prison bars. At first, Bruno is on one side and Guy on the other, as it would be for an innocent person visiting an inmate. But as Bruno draws Guy further into the web of conspiracy, both men wind up on the same side and the imagery is so complete that Guy even comments upon being made to seem guilty. Yes, this is hardly subtle, but remains quite effective. What transforms it into being more subtle than it seems, however, is that the iron structure forming the symbolic prison bars is not the fence, but the gate. Both men can walk from one side to the other—from freedom to imprisonment and vice versa—at will. Thus, the imagery suggests not only that Guy is not completely innocent, but that Bruno is not completely guilty. The events are much more complicated than the events would have them seen.
Bruno in the Stands
One of the creepiest scenes in all of Hitchcock—in all of film, for that matter—is when Guy arrives to play a tennis match. While taking a seat and waiting, another match is already underway. Guy looks across the court into the stands and see a crowd of people moving their heads back and forth as they follow the ball. And sitting there in the middle, the only head not in movement at all, is Bruno who is instead staring straight at Guy. It is a sublime use of imagery which references Bruno’s concept of “criss-cross” as the means of committing the perfect murder while also situating Bruno as the all-seeing eye of guilt which is affecting Guy. Guy’s reaction is not just one of fear of criminal consequences, it is revealing of his psychological state of mind.
Tennis
Tennis seems to be Hitchcock’s go-to sport. It plays rather significantly roles in both Rebecca and Dial “M” for Murder, but it is in Strangers on a Train that tennis becomes metaphor. The entire film is about criss-cross: exchanging murders so that the element of motive is removed. When one’s score is zero in tennis, the term that is used is “love.” The woman whom Guy must at one time have felt was the “love of his life” turns out to be a complete zero. Additionally, Bruno zeroes out what was once an enormous inconvenience for Guy. Tennis is a game played between two people watched intensely by a crowd and it is safe to say that the relationship between Bruno and Guy lobbies back and forth with both hoping to land a game-winning smash and both being disappointed that is being intensely watched by a crowd, even if that crowd doesn’t realize exactly what they are watching.
