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Curtain: Poirot's Last Case is a work of detective fiction by British writer Agatha Christie, first published in the UK by the Collins Crime Club in September 1975 and in the US by Dodd, Mead and Company later in the same year, selling for $7.95.

The novel features Hercule Poirot and Arthur Hastings in their final appearances in Christie's works. It is a country house novel, with all the characters and the murder set in one house. Not only does the novel return the characters to the setting of her first, The Mysterious Affair at Styles, but it reunites Poirot and Hastings, who last appeared together in Dumb Witness in 1937. It was adapted for television in 2013.

It is the last novel published by Christie before her death. Sleeping Murder, written during the Blitz and published posthumously, is her final published novel.

Background
By the time Curtain was written, the broader political situation was tense. The Spanish Civil War, which had broken out the previous year, upset the balance of power and drew in the Soviet Union, Italy and Germany. Also, Germany was becoming increasingly aggressive and had spent the previous few years rearming. In the United Kingdom, there was a sense of political unease towards the future and an expectation of war although foreign policy remained predicated on appeasement. Baldwin resigned as prime minister in May 1937 and was replaced by his deputy, Neville Chamberlain. Due to the threat of war, Christie's husband, the archaeologist Max Mallowan had his digs cancelled from 1938, and they both did war work. Christie worked in the pharmacy at University College Hospital, although also continued writing. Two books she wrote in this period—"in anticipation of 'being killed in the raids' on London during the Blitz"—were Curtain, with Hercule Poirot, and Sleeping Murder, which featured Miss Marple, also in her last major case. These books remained unpublished and stayed in a bank vault with instructions not to be published until after her death. Her intention—in the knowledge that she could be killed at any time—was that her daughter would have something to inherit. In the event, it was published a few months before she died, with Sleeping Murder being published posthumously.

Recent murders
"Case A: Etherington": A drinker and drug user with a "peculiar and sadistic character". Marrried to a much younger wife. Etherington died supposedly of food poisioning, but the doctor was suspicious. An autopsy revealed death by arsenic poisoning. Mrs Etherington arrested and charged. Acquitted in courtv due to both popular sentiment and the trial judge. She was cold-shouldered by her friends, however, and eventually died two years later of a veronal overdose. Norton was on "intimate terms" with Etherington.

"Case B: Miss Sharples": An invalid in much pain, cared for by her niece Freda Clay. Miss Sharples died of an overdose of morphia, which Freda Clay admitted to giving her for extra pain relief, her aunt being in more pain than usuial at the time. Police suspecteed it was deliberate but ultimately unprovable.Norton met Freda on a cruise, and Poirot has a photograph of them walking together.

"Case C: Edward Riggs": Farmworker, believed his wife to be in an adulterous affair with a lodger. Both the lodger and Mrs Riggs were found shot with a pistol. Riggs confessed, saying he had been amnesiac. Convicted and sentenced to penal servitude for life. Norton lodged "one summer" in Riggs' village and drank with him in the pub.

"Case D: Derek Bradley. Had an affair with a woman which was discovered by his wife. She found out and threatened to kill him; Bradley subseuently died of potassium poisoning in his beer. She was arrested, tried and convicted and hanged. Norton was an aquaintance of hers.

"Case E: Matthew Litchfield": Ruled his four daughters—his only family—tyranically, refusing them money and forbidding them from going out, although wealthy himself. Attacked outside his house one night when his brains were bashed in. His eldest daughter, Margaret, confessed to the police that she had killed him to release her sisters and allow them to enjoy their lives. She was deemed insane and committed to Broadmoor, where she died "shortly afterwards". Norton was a family friend and was near the house the night Litchfield was killed.

Present day
Styles, the Essex mansion where his career begun, has been turned into a guest house. Poirot summons Hastings—whose wife has recently died—to join him there, and shows hiom a collection of newspaper reports on recent murders around the country. They have nothing obvious in common, and in each case the killer was swiftly—and correctly—apprehended. Poirot tells Hastings that, actually someone else—one Stephen Norton—orchestrated the murders, and that Norton is a fellow guest at Styles. His technique is imnassailable, says Poirot, and because he works solely through the power of suggestion he can never be brought to justice. Poirot appears too sick to physically investigate—although it later transpires that he is not as immobile as he claims—so Hastings takes on the role. Over the course of the novel Norton employs his technique on several guests—for example, subtly encouraging the hotel owner that his bullying wife would be better dead—but Poirot is able to prevent them from coming to fruition. Ultimately, a guest dies, and Poirot acts, committing the one murder that he had known would take place at Styles since he had arrived. He kills Norton, and leaves Hastings a detailed account of the case. Poirot is found dead the next morning, having had a long-expected heart attack. He did not commit suicide, but he moved his ampoules of nitrate out of reach. For the only time in hs career, Poirot leaves his own account of the case, and encourages Hastings to begin living his life again.

Comparison with The Mysterious Affair at Styles
York has argued that many themes first encountered in Styles reoccur in Curtain, the same atmosphere of anxiety against an oppressive summer backdrop. In the days following the death of Mrs Franklin an event occurs to link the atmosphere of the Iglethorpe's Styles to that of the Luttrells'. Hastings meets an "old woman with rheumy eyes and an unpleasant ghoulish manner" who remembers him from the first case and who by doing so suggests a house "unable to escape from a deathly past", argues Professor R. A. York. Unhappy characters openly populate both—if the former does offer most of them a degree of happy ending—although it is only by coming back to Styles years later that Hastings realises this. Curtain's characters are equally alienated. Through their comments, an atmosphere of oppressive foreboding is built up, with a concomitant expectation—a superstition—of doom. Part of the reason Norton finds such a rich vein to practice his power in is due to the state of post-war Styles; because it became,e a guest house, it became open to people of all different social classes who would often not necessarily have mixed and among who he can hide, chameleon-like. Much of the underlying frustrations in Styles are family-orientated. In the first case, this is due to the oppressive atmosphere that Alfred Inglethorpe conveys and his wife's closeness with her fortune. In the second, it is because of individual faults; Colonel Luttrell's timidity and his wife's bullying, Dr Franklin's sense of duty in the face of what would be better for both he and his wife, and Hastings and Judith, the former who is over-protective and the latter who reacts badly to it, for example.

What was, in 1920, "a glorious old place" and "a fine property" has become neglected and shabby. English Professor Marty S. Knepper argues that the common motif between the two is the bond between the detective and his companion: Curtain "ends where the series begins", with the reunion of Poirot and Hastings at the country house after many years had passed. Academic Fredrica Crescentini suggests Hastings' opening words indicate his sense of deja vu, a nostalgia, that represents eternal return.

Evil
Evil is a common theme throughout Christie's works, particularly the ability of almost everyone to be a killer in the right circumstances. Never is this more openly addressed than in Curtain. Poirot states that "There has been an epidemic of that in the world of late years—L’appe´tit vient en mangeant. Throughout his career Poirot has argued that everyone has the capability of killing—he often tells a story of a child who kills a kitten accidentally because they do not understand the consequences of their actions This York calls "the universality of murderous impulses". The difference between Curtain and Poirot's previous expositions on the theme is that in this final case, he delves into the question with much more depth and so more plausibly. Expanding his theory, he asserts that while all humans have the ability, or wish, to kill, they must possess the "will to kill"; much rarer, he says.

Personalities
Norton is the only character at Styles who has no overt personality traits; his only absorption is bird watching and a concomitant interest in nature.

Few of the characters seem to care about the others, and when they do, it emphasises the noirist atmosphere. The relationship between Hastings and Judith, for example, is one of contempt—verging on hatred at one point—on her behalf and almost fear on his. It is difficult for the reader to empathise with any of the characters, and so little interest in the victim, whichever of them that might be.

Coleridge described Iago's malice as "motiveless malignancy", and the same phrase has been used regarding Norton's. This makes Norton stand out among Christie's murderers, all of whom commit their crimes for some form of material gain. Norton, though, has "no other motive than schadenfreude: malicious joy or spiteful glee".

Power
Hastings demonstrates an attempt to wield paternal power over Judith. Poirot, in turn, wields his power over Hastings. Franklin suggests that 80% of the world's population is useless and should be eradicated—at a time when, in reality, the UK was in a war against Nazi Germany, the government of which believed something not dissimilar. Norton, as X, has power over almost everyone, and Poirot can only assert his power over Norton by killing him. In doing so, he "does what Judith only preached".

The reader's perception, argues J. C. Bernthal: "if the detective—the symbol of law and order—cannot be trusted to be readers' moral compass, whom or what can be trusted?"

Christie and Iago
Norton is an Iago-like character, and York argues that "the literary analogy is made very much explicit". Christie is known to have been fascinated by the character; indeed, her biographer calls her "obsessed" by him. She uses elements of him in other books, but never to the extent of mirroring his very nature as she does in Curtain. For example, in 1931's Peril at End House, Christie, through Poirot, has the detective praise Iago because "he got others to execute" his crime. In Murder in Mesopotamia, 1936, one of the main characters is accused of being "a kind of female Iago. She must have drama. But she doesn't want to be involved herself. She's always outside pulling strings—looking on—enjoying it." In 1939's Hercule Poirot's Christmas Poirot knew Othello, and describes Iago as "the perfect murderer... he deaths of Desdemona, of Cassio—indeed of Othello himself—are all lago's crimes, planned by him, carried out by him. And he remains outside the circle, untouched by suspicion—or could have done so." Poirot—discussing what light the character of the victim can cast upon the crime that kills them—suggests that "the frank and unsuspicious mind of Desdemona was the direct cause of her death. A more suspicious woman would have seen Iago's machinations and circumvented them much earlier". Her interest in Iago carries into works written under her pseudonym, Mary Westmacott. In The Rose and the Yew Tree, her protagonist understands how Iago suffered, "hat[ing] the human being who's up amongst the stars"—like Desdemona—while he—like Iago—languished on earth.

Norton and Iago
Norton suffers from a severe inferiority complex as well as being a mental sadist with a lust for revenge on ordinary people. He is a sociopath{{sfn| and a "murder addict".{{sfn|Lehman|2000|p=37}} He is effectively a catalyst: he changes the things around him remaining unchanged himself through the process. He does not commit murder himself, but subtly encourages and manipulates other people into killing;{{sfn|Bernthal|2020|p=171}}{{sfn|York|2007|p=158}} Poirot argues that he effectively brings out the murderer hidden inside everyone.{{sfn|Lehman|2000|p=37}} Most of Christie's villains murder for profit, or some other form of gain; Noton does not benefit at all from his crimes except from private pleasure.{{sfn|York|2007|pp=158–159}} Such is the random nature of the murders that Norton has committed that he is one of the few psychopaths that Christie ever created; few of her other villains express Norton's contempt for life.{{sfn|York|2007|p=158}} David Suchet, in an essay for the RSC, comments on Iago's reasons that "almost everyone who has ever written about Iago or played Iago is in search of one thing: motivation".{{sfn|Holmes|2004|p=40}} Poirot describes Norton's technique:

{{blockquote|X knew the exact word, the exact phrase, the intonation even to suggest and to bring cumulative pressure on a weak spot! It could be done. It was done without the victim ever suspecting. It was not hypnotism—hypnotism would not have been successful. It was something more insidious, more deadly.{{sfn|Christie|2006|p=277}}}}

Playing on his companions' "deep insecurities and fears",{{sfn|Knepper|2005|p=75}} Norton's pleasure is a vicarious one. He has perfected the psychological art, like Iago, of provoking and goading others into killing without him ever being suspected.{{sfn|Zizek|2012|loc=The Non-All}}{{sfn|Franks|2016|p=28}} However, it is insufficient that Norton merely gets the innocent to murder; as Poirot puts it, "he wants the whole gamut of emotion, suspicion, fear, the coils of the law".{{sfn|Christie|2006|p=277}} As a result, in the five cases that Poirot identifies to Hastings, there were not only the five murder victims but also the suicide of one killer, the execution of another and a third who died, insane, in an institution.{{sfn|York|2007|p=158}} The reader knows that X has killed several people before the action of the novel begins, as as explained by Poirot. He has several other plots on the go at various points during it also.{{sfn|York|2007|p=158}} Norton feels empowered. He implicates multiple characters in his different attempts at crime throughout the novel, up to and including Hastings himself.{{sfn|Bernthal|2020|p=171}} Other would-be victims are Colonel Luttrell, whom Norton subconsciously encourages to shoot his wife by telling him stories of weak men, albeit as if accidentally. He also works up Mrs Franklin to the state where she is willing to kill her husband. In both cases, however, he is foiled; in that of Luttrel, an inner, if abeyant, fondness for his wife resurfaces and he misfires at the last second, while Mrs Franklin—thanks to Hastings accidentally swapping the cups around—drinks the poisoned coffee she has brewed for her husband.{{sfn|York|2007|p=158}} Hastings, anticlimactically, fell asleep before Allerton returned.{{sfn|Christie|2006|p=277}}{{sfn|York|2007|p=158}}

Poirot and murder
Such is the nature of Norton's crimes that it requires Poirot to take the law into his own hands for Norton to be punished. In doing so, Poirot becomes similar to his victim, who also had, in Poirot's words, "the keys of life". Both Poirot and Norton, argues critic J. C. Bernthal, "illustrate dangerous extremes in the pursuit of power" and perhaps even two sides of the same coin. Robert Barnard argues that unsolved crime—murder in particular—is socially destabilizing. Poirot, traditionally the voice of a reasonable and law-abiding society, finds himself questioning his own position. The theme of Poirot's responsibility had previously been raised in Murder on the Orient Express, where Poirot presents two possible conclusions, one of which—and that which is eventually chosen—lets 12 killers go free without any legal process at all. In Curtain, his actions are premeditated but also harder to justify to himself. In his closing statement to Hastings, he writes that "I do not know, Hastings, if what I have done is justified or not justified. No—I do not know." In his humility, he puts his medicine aside and allows god to act as it would. The critic and author Stuart Sim describes the detective, in these circumstances, as "compelled to commit criminal acts in order to punish criminals, since the justice system can no longer reliably guarantee that this outcome will occur". Poirot himself emulates the actions of the killer to varying degrees. Even before committing the act itself, he lies and deceives (pretending to be more ill than he is, for example) and almost commits perjury (deliberately leading an inquest to a faulty conclusion), although he emphasised to Hastings that he was not under oath at other time.

Poirot has said many times that he "does not approve of murder", and usually, this disapproval results in legal justice being meted out to the criminal at the end. But in Curtain, this is not possible, so he feels it necessary to take the law into his own hands.

York notes that this is not the first time Christie's readership encounters "someone who puts to death people who have caused the death of others in ways not open to legal punishment and who then commits suicide, recording his strategy in a posthumous document." Before Poirot, Mr Justice Wargrave plays the same role in And Then There Were None, although where the judge is absolutely certain of his legal justification—"I had no doubt whatever, after my long court experience, that one and all were guilty"—Poirots is conflicted by doubt. He recognises that is playing God where only God has the right to do so. On the one hand, he is sure he has saved future innocent lives whom Norton would have destroyed, but on the other, suggests Evans, his sense of moral superiority "is undercut" because he lacks the judge's certainty, telling Hastings "I am very humble and I say like a little child, 'I do not know'". He has already, in 1936, told Superintendent Battle, in Cards on the Table that vigilantism "happens, Battle. It happens," in response to Battle's protest that ordinary people should never take the law into their own hands.

Curtain demonstrates varying levels of evil, ranging from that of the main villain to being "alarmingly present in the actions of other characters as well, included those of the detectives". Thus Christie calls into practice the commonly accepted understanding of good and evil in detective fiction. Franco Moretti has argued that the "murderer and victim meet in the locked room because they are fundamentally similar",

Literary significance and reception
Curtain was written against a background of devastation. By this time, Christie had lived through one world war and was experiencing another. It was a time, argues author Nizar Zouidi, of "vulnerability... apprehension and uncertainties". Death and destruction were unprecedented. was released a few months before Christie's own death. The extent to which both he and his creator, suggests J. C. Bernthal, symbolised the Golden Age of Crime was such that he has been the only fictional character to have an obituary published in the The New York Times, and "on the front page, no less". In a review titled "The last labour of Hercules", Matthew Coady in The Guardian, on 9 October 1975, wrote that the book was both "a curiosity and a triumph". He repeated the tale of the book being written some thirty years before and then stated that "through it, Dame Agatha, whose recent work has shown a decline, is seen once more at the peak of her ingenuity." Coady called Captain Hastings the "densest of Dr Watsons [but]... never has the stupidity of the faithful companion-chronicler been so cunningly exploited as it is here." Coady summarised the absolute basics of the plot and the questions raised within it and then said,"In providing the answers, the great illusionist of crime fiction provides a model demonstration of reader manipulation. The seemingly artless, simplistic Christie prose is mined with deceits. Inside the old, absurd conventions of the Country House mystery she reworks the least likely person trick with a freshness rivalling the originality she displayed nearly 50 years ago in The Murder of Roger Ackroyd. For the egotistic Poirot, hero of some 40 books… it is a dazzlingly theatrical finish. 'Goodbye, cher ami', runs his final message to the hapless Hastings. 'They were good days.' For addicts, everywhere, they were among the best."

Not just a puzzle, but one of Christie's most psychological works in which everyone is examined, whether victim, killer, near-killer and detective. Poirot is "at his cruellest", says Franks, at one point telling Hastings to "Go away. You are obstinate and extremely stupid" and that he wishes he did not need to rely on him.

Two months later, Coady nominated Curtain as his Book of the Year in a column of critic's choices. He said, "No crime story of 1975 has given me more undiluted pleasure. As a critic, I welcome it, as a reminder that sheer ingenuity can still amaze."

Maurice Richardson in The Observer of 5 October 1975 summed up: "One of her most highly contrived jobs, artificial as a mechanical birdcage, but an unputdownable swansong."

It was one of the bestselling books of 1976.

York argues that, however pervasive evil is in the story, there is still room, occasionally for "some mildness...and it is sometimes comic", albeit often due to Hastings's clumsiness.

Lehman has argued that, notwithstanding "all the talk about Iago", Curtain is as much merely a sporting crossword puzzle as any of her previous novels. The crime writer and critic Robert Barnard was more critical. In A Talent to Deceive, he said Curtain—while based "on an interesting idea"—was too clever for Christie to execute. It needed, he suggests, "greater subtlety in the handling than Christie's style or characterisation will allow (the characters here are in any case quite exceptionally pallid). In fact, for a long-cherished idea, and as an exit for Poirot, this is oddly perfunctory in execution". He later repeated his description of it being perfunctory, and that further, it was "as if she was beguiled by her own reputation for thinking the unthinkable into making Poirot the murderer, but could not come up with a satisfactory plot, set of characters, or motivation to justify the solution". In response, York suggests that Barnard, probably expecting a whodunnit along the traditional Golden Age style, therefore failed to notice "the thematic richness of this, he most ambitious work".

The character of Hastings is slightly different in Curtain to its predecessors, argues Rachel Franks. She suggests that while in earlier novels, he has been very much in the shadow of Poirot, now he changes before the reader's eyes "from supportive sidekick to hardboiled investigator followed by a brief descent into noir". Not only is he at his most loyal, but he is also at his most hard-boiled. He is willing not only to do things traditionally repugnant to him—spying through keyholes, for example—but even to the extent of taking the law into his own hands.

Curtain, with Poirot on the brink of death, makes him more human than he has ever seemed, argues the novelist Rhys Bowen.

Folklorist and academic Eliot A. Singer suggests that, when Poirot speaks to Hastings about the latter's lack of suspicion, she is also talking to the reader, her audience more generally:"But perhaps, after all, you have suspected the truth? Perhaps when you read this, you already know. But somehow I do not think so... No, you are too trusting... you have too beautiful a nature'"

Singer notes that one of the reader's basic expectations, that they should be able to take for granted prior to the story beginning, is that "the murder must be committed by the murderer". In Curtain, though, Christie even breaks this rule.

Rachel Franks has suggested that it is possible to reframe the solution to Curtain similarly to how Pierre Bayard, in his Who Killed Roger Ackroyd, redirected the guilt of Dr Sheppard onto his sister Caroline using the same clues and narrative Christie provides. Franks argues that while Norton is claimed to be a killer, Poirot later claims to have also committed a murder, and Hastings killed Barbara Franklin—if unknowingly—the only one of these that can be proven is the last. Yet, she suggests, the true killer here was not Hastings but Judith. She bases her re-interpretation on the fact that Judith had means and motive: the former, in the form of the calabar bean, which is central to her employer's research, and the latter, her wish to marry him as soon as she is able.

References or allusions
Being their last case together, mention is made of earlier cases. Hastings became involved in the first Styles investigation in 1916, at which time he was thirty years old. He married at the end of the next Poirot novel, The Murder on the Links, mentioned twice in this novel, as Hastings is now a widower.

Curtain possesses a timelessness due to being set after the second war but returning to the setting of the first novel.

Poirot mentions that once, in Egypt, he attempted to warn a murderer before the person committed the crime. That case is the one retold in Death on the Nile. He mentions that there was another case in which he had done the same thing: almost certainly that retold in "Triangle at Rhodes" (published in Murder in the Mews in 1937). In The A.B.C. Murders, Inspector Japp says to Poirot: "Shouldn't wonder if you ended by detecting your own death;" an indication that the idea of Curtain had already formed in the author's mind in 1935. On 6 August 1975, The New York Times published a front-page obituary of Poirot with a photograph to mark his death.

Hastings also mentions "the case of Evelyn Carlisle" as he speculates over a possible hidden financial motive for X's actions, referring to Sad Cypress which centred on the revelation of money as a motivation for the crime.

Sequence of publication in Poirot novels
Christie wrote the novel in the early 1940s, during the Second World War. Partly fearing for her own survival, and wanting to have a fitting end to Poirot's series of novels, Christie had the novel locked away in a bank vault for over thirty years. The final Poirot novel that Christie wrote, Elephants Can Remember, was published in 1972 and takes place in that year, followed by Christie's last novel to be written, Postern of Fate. Finally, Christie authorised Curtain's removal from the vault and its subsequent publication. It was the last of her books to be published during her lifetime.

Due to its earlier date of composition, Curtain makes no mention of Poirot's later cases in novels published after the Second World War. Christie could not anticipate how long she would live, nor that she would continue to write more stories about the popular detective she had come to detest (see Hercule Poirot and Miss Marple for further discussion of her views of Poirot); nor was the story rewritten to a contemporary setting at the time of its publication. Therefore it is difficult to fit the novel into a consistent chronology with her post-war stories.

The exact time period of the story is not specified, beyond it being summertime, but some inferences can be drawn. References to the Second World War (Hastings describes himself as "Wounded in the war that for me would always be the war—the war that was wiped out now by a second and more desperate war") place it after its end—a date as yet unknown at the time of the book's writing—and the events of The Mysterious Affair at Styles in 1916 are said to have happened "Twenty years ago and over". Also, Hastings' daughter Judith is 21 in Curtain; he met her mother in The Murder on the Links, published 1923. Hastings himself appears to be in his fifties, since he describes a woman between 30 and 40 as "well over ten years my junior." All of this suggests a 1940s timeframe, despite this being inconsistent with Poirot's continued appearances in books taking place as late as the 1970s. A significantly later date would introduce other anachronisms, such as the mentions of hanging, which was abolished in Great Britain in 1965.

The story clearly ends Poirot's career, for he dies in the novel. Poirot's death was announced in The New York Times, a rare honour for a fictional character.

Adaptation for television
The novel was adapted in 2013 starring David Suchet as Poirot. By the time the episode was aired—Suchet had been playing Poirot for nearly a quarter of a century—the two were "almost inseparable for many", and possessed an "inevitable... aura of fin-de-siècle gloom". As a result of the pressure, Suchet requested they film Curtain before the rest of the series, although it was still broadcast last. It was the final episode of the final series of Agatha Christie's Poirot, and the first of the final series to be filmed. Hugh Fraser again returned to the role of Hastings, following a ten-year absence; stars such as Alice Orr-Ewing (Judith Hastings), Helen Baxendale (Elizabeth Cole), Anne Reid (Daisy Luttrell), Matthew McNulty (Major Allerton), Shaun Dingwall (Dr Franklin), Aidan McArdle (Stephen Norton) and Philip Glenister (Sir William Boyd Carrington) were among the other cast. The programme was aired in Britain on 13 November 2013, and later on Acorn TV on 25 August 2014. The adaptation mentions only the Litchfield, Sharples, and Etherington murders. Margaret Litchfield is hanged during the opening credits, whereas in the novel she dies in an asylum. The killer is not labelled 'X' as in the novel, the purpose of the label being achieved in other ways. Otherwise, the adaptation remains extremely faithful to the novel. With the exception of The Mysterious Affair at Styles, set in the First World War, the rest of the ITV Poirot series are set in the 1930s, regardless of when the novels were written, or the contemporary features in each of the novels; this last story sets the year as 1949.

On 19 December 2013, Barnaby Walter of The Edge listed the adaptation and Poirot's death scene at number 2 on the list of the Best TV Drama Moments of 2013. In 2015, Curtain was nominated for Outstanding Television Movie for its 67th Emmy Awards, but eventually lost to Bessie. David Hinckley praised the character while criticising the plot adaption. Arguing in the New York Daily News that it "felt uneasily like the funeral of an old friend" and as having "heart-rending emotional depth", he also criticised the direction for being "very creaky indeed". However, Hinckley particularly reserved praise for the show's evocation of the characters' painful pasts.

Publication history

 * 1975, Collins Crime Club (London), September 1975, hardcover, 224 pp ISBN 0-00-231619-6
 * 1975, Dodd Mead and Company (New York), hardcover, 238 pp, ISBN 0-396-07191-0
 * 1976, Pocket Books (New York), paperback, 280 pp
 * 1976, Ulverscroft Large-print edition, hardcover, 325 pp, ISBN 0-85456-498-5
 * 1977, Fontana Books (Imprint of HarperCollins), paperback, 188 pp
 * 1992, G.K. Hall & Co. large-print edition, hardcover, ISBN 0-8161-4539-3

In the US the novel was serialised in Ladies Home Journal in two abridged instalments from July (Volume XCII, Number 7) to August 1975 (Volume XCII, Number 8) with an illustration by Mark English.