Strangers on a Train
Of all the villains I’ve encountered in fiction, I’m struggling to think of one more loathsome than Strangers on a Train’s Charles Bruno. I don’t feel great about it, because any mid-century, gay-coded character deserves at least some empathy, but this spoiled momma’s boy is simply the worst. I don’t begrudge the movie version’s drastic simplification of Strangers, but Robert Walker’s portrayal of Bruno is so spot-on, I kind of wish Hitchcock could have let him take it to the extremes Highsmith’s novel does. I also find it extra fascinating that Bruno presages defining aspects of two very different future Highsmith characters: the acute, forbidden, queer longing of The Price of Salt’s Therese Belivet; and the ambitious, deadly sociopathy of the Ripliad’s Tom Ripley.