The more easily identifiable a pattern, the less you will have to attribute it. Give us the stiffening of the man's body, his face turning red, the dropping of his voice, the clenching of his fists. That is how vivid storytelling is done. When the intent of dialogue is other than the dialogue suggests, give us the character's expression, or some kind of visual context that clues us to the actual emotion at work. Oh sure, this'll be loads of fun.
Physical contact is one of the strongest kinds of human communication.
Lovers and friends demonstrate their closeness by touch. This rule can also work very well in reverse, with the character isolated from contact. Eyes are marvelous tools in scenes. Eyes can narrow. They can flash.