The one that did was made by Wally Westmore and applied to the face of Fredric March. This was the simian transformation towards evil, with a stupid-crazy frat-boy grin and gigantic redneck teeth.

Westmore defined the immoral intra-human as evolutionary regression towards animality. As we move “backwards” from human to eukaryote, the first stop is the simian. This schematizes the popular Gnostic notion that man is a hybrid being—half a goon and half a God. Our evil half stems from biologic and its competitive selfishness; our good half, from something outside biology and its matrix, physical mechanics. The evil within us is animal; the good within, reason or God.

Westmore’s makeup defined or schematized the latent evil within us as simian. The connection was so appealing and intuitive that it fixed the “Evil Within” trope for two generations. Over the next 40 years, whenever evil emerged from human nature, it did so by regression. Deviation towards evil that emerged from and retained the human was pre-human, usually simian-human or canine-human. The other trope, the monster by mishap, shows evil emerging by mutation. These are two of the main man-to-monster tropes still with us today:

1. Corruption by regression — The monster emerges from within HUMAN nature. Man becomes monster, but retains his humanity in part. The transformation occurs by means of evolutionary regression. The civilized gentile becomes sloppy, hairy, and stupid. Evil is the Id, and the Id is our own animal past.
2. Corruption by mutation — The monster emerges by deviation from human NATURE by adding forces external to it. The monster arises not by pulling the man backwards, or away from the evolutionary end-point, but sideways, or away from normal biology. The result is an aberration—a giant, a melting man, an insect, or something from beyond.

In any case, Westmore-March simian-human monster fixed the image denoting “self-transformation towards evil” for 40 years, just as Pierce-Karloff fixed the image denoting “reanimate patchwork corpse.”

Here is the final transformation. It is different from the previous four in that his lower eyelids are here, for the first time, pulled down. It’s the best makeup of the five in the film —