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philodendron lady

philodendron lady Philodendron 'Painted Lady' – Foliage Factory

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Description

philodendron lady Philodendron 'Painted Lady' – Foliage FactoryPhilodendron 'Painted Lady' Philodendron 'Painted Lady' is a climbing variegated Philodendron with bright juvenile colour, red toned stems and a steady upward habit. New leaves usually open in yellow green to lime shades with darker green flecking, then deepen as they mature while keeping a mottled two green pattern. The contrast between the warm petioles and fresh leaf colour is especially clear on fresh growth before the leaves settle into deeper

Philodendron 'Painted Lady'

Philodendron 'Painted Lady' is a climbing variegated Philodendron with bright juvenile colour, red-toned stems and a steady upward habit. New leaves usually open in yellow-green to lime shades with darker green flecking, then deepen as they mature while keeping a mottled two-green pattern. The contrast between the warm petioles and fresh leaf colour is especially clear on fresh growth before the leaves settle into deeper green tones.

This cultivar benefits from support as the stem lengthens. Aerial roots form at the nodes, and the leaves sit more neatly when the plant is trained on a moss pole, plank or trellis. In a pot without support, older stems may lean or trail, but the natural growth direction is upward.

Mottled new growth and red petioles

  • Stem habit: A lengthening climbing stem with visible nodes and aerial roots.
  • Leaf colour: Yellow-green new growth marked with darker green mottling.
  • Petioles: Pink to red stems and leaf stalks that stay visually important even as older leaves darken.
  • Training: A support helps the plant hold larger, better-spaced leaves indoors.

McColley breeding background and mature plant shape

Philodendron 'Painted Lady' comes from Robert H. McColley’s Orlando, Florida breeding work. Its breeding background is recorded in USPP3958, published on 19 October 1976, with the cross Philodendron 'Burgundy' × Philodendron 'Emerald Queen'. The patent describes yellow-green mottled new leaves, mature two-green foliage, bright red stems and petioles, climbing growth and a need for staking as the plant develops.

The cultivar brings together red stem colour, climbing behaviour and mottled green-yellow foliage. The colour balance can vary between plants and between leaves on the same stem, so a healthy specimen may show brighter juvenile growth followed by calmer mature leaves.

The climbing habit matters for indoor care. Leaves are held on petioles from a central stem, and each node can produce aerial roots when humidity, contact and support are available. Support gives the stem a clear direction and helps new leaves expand without the plant becoming stretched or unstable in the pot.

Care for supported Painted Lady growth

  • Light: Give bright, indirect light with protection from harsh midday sun. Pale leaf tissue can scorch quickly, while very dim conditions usually lead to smaller leaves and longer internodes.
  • Watering: Water thoroughly once the upper part of the substrate has dried. The roots need moisture followed by oxygen, so the pot should never stay constantly wet.
  • Substrate: Use an airy aroid mix with bark, coarse fibre, perlite or pumice and a moisture-retentive base. Dense potting soil can hold too much water around the roots.
  • Humidity: Average indoor humidity is usually tolerated, but steadier humidity helps new leaves unfurl cleanly. A humidifier, grouped plants or a vitrine can help in very dry conditions.
  • Temperature: Keep warm, ideally around 18–27°C. Cold, wet substrate is the main risk during cooler months.
  • Feeding: Feed lightly during active growth with a balanced fertiliser. Pale new leaves are normal for this cultivar, so do not treat every yellow-green leaf as a deficiency.
  • Pruning and support: Add a pole early if you want a vertical plant. Prune stretched stems above a node to shorten the vine and root cuttings when the plant is actively growing.

Problems to check on Philodendron 'Painted Lady'

  • Soft yellowing leaves: Check root moisture first. A heavy substrate, oversized pot or frequent watering can reduce oxygen around the roots.
  • Crisp pale patches: Move the plant away from direct sun or intense grow lights. Pale tissue marks more quickly than darker green tissue.
  • Small leaves and long gaps between nodes: Increase light gradually and give the stem support so the plant can climb instead of stretching sideways.
  • Stuck new leaves: Check humidity and airflow. Consistently dry air can make the cataphyll cling around new growth.
  • Distorted fresh growth: Inspect petioles, cataphylls and leaf backs for thrips, spider mites, mealybugs or scale.

Handling and pet safety

Philodendron 'Painted Lady' should be kept away from pets and small children. Like other Philodendron, it contains calcium oxalate crystals that can irritate the mouth, throat and digestive tract if chewed or swallowed. Sap may also irritate sensitive skin, so wash your hands after pruning or taking cuttings.

Name and McColley cultivar context

Philodendron belongs to the Araceae family. The genus name comes from Greek roots meaning “loving trees”, a reference to the climbing habit seen in many species. The cultivar name 'Painted Lady' refers to the mottled, brushed-looking colour pattern across the leaves.

Philodendron 'Painted Lady' combines red petioles, mottled yellow-green new growth and a documented McColley hybrid background.

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Joel Bradford
Phoenix, US
★★★★★ 4
Beautiful, glorious, and depressing but not without levity
Probably Gilliams most serious film, a story of a dreamer in a dystopian bureaucratic future, plagued by monotony and endless paperwork, our protagonist (played by Jonathan Pryce) isn't sure what he wants in his life, but he knows he wants something different. When the Department of Information Retrieval disappears the wrong person (played by Robert De Niro), our hero goes to reimburse the widow and discovers a woman living in the same building who looks like the woman out of his dreams (played by Kim Greist). Really stellar performances by Pryce, and a gaggle of supporting actors such as Ian Holm, Michael Palin, Kathrine Helmond, and Bob Hoskins. Greists performance is probably the weakest, but she does enough for the role that the critique of it amounts to a nit pick really. While this film is considered a cult classic, I would qualify it even less and say its just a classic, full of symbolism with a increasingly repressive tone throughout balanced by Gilliams puncturing, dark humor.
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Reviewed in the United States on September 29, 2024
M
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Mr. Watkins
Chelsea, US
★★★★★ 5
Classic Terry Gilliam- Watch It!
One of the best Terry Gilliam movies out there. Made in the 1980's, the cast is superb, and it holds up well 40 years on. WAtch it- it's a trip!
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Reviewed in the United States on April 27, 2026
M
Verified Purchase
***moviemaker***
Grantham, US
★★★★★ 5
BLU RAY is the 132 minute Original U.S. Theatrical Cut FINALLY!!!!
] On this Blu-ray for the first time ever we get the ORIGINAL 132 minute version of the film as was shown in U.S. theaters. (Note: This is NOT the "Love Conquers All" Sheinberg/TV Edit.) All the DVD releases before this have been the European Version/Director's Cut of the film. Even the original Universal DVD release that said Theatrical Cut on the box actually had the European Version/Director's Cut. Unfortunately, Universal didn't really spend any time cleaning up the negative for Hi-Definition (there is very noticeable instances of dirt and debris on the negative) but it still beats the image quality found on the Universal SD DVD, and they do include an amazing DTS-HD Master 5.1. We'll just have to wait for the Criterion Blu-ray of Brazil for image perfection but serious fans of Brazil will want to get this Blu-ray edition just to have this version of the film as it was originally seen in theaters in 1985. I actually find this 132-minute version is in many ways a superior cut of the film. Here are the differences in detail: *In the 132-minute version you cut from Sam in bed with Jill, police sack goes over head, then CUT TO Pull off police sack to reveal Sam in Torture Chamber/Interrogation chair. This one cut is simply brilliant and very powerful. In the Criterion Version you have the added scene of Mr. Helpman as Father Christmas (completely out of charcater from the rest of the film) and the whole interrogation scene of Sam hanging from the rack inside the police/mail pouch which becomes narratively redundant and dilutes the impact of the final scene. *To end it with cooling tower/interrogation room fade to clouds was a great Gilliam wink of subversion and irreverence to the cliche Hollywood Ending. As opposed to the European cut of just credits over cooling tower/interrogation room. *The Samurai Scene is divided into 3 separate scenes in the 132-minute version versus 1 LONG scene in the European cut. And you know what? Like most things, it works better in 3's. *The 132-minute version cuts straight to the Dinner Scene with Ida (his mother) ordering numero deux, trois, etc. while the European version has the entrance to the restaurant of going through the metal detector which really doesn't add anything and is again a bit redundant when the bomb does eventually go off in the restaurant. With the scene, you're signaling to the audience we are looking for a bomb, so we expect a bomb. Without the added scene, the bombing is unexpected and it actually shocks you so you're both horrified and laughing. The unexpectedness also works as it builds upon the bomb motif from the first explosion at the beginning of Brazil during the Ducts advert. *And finally I just love that the 132-minute version opens on those clouds (outtakes from The Never-Ending Story) then goes to the Central Services advert about Ducts: "Are your ducts old-fashioned, out-of-date... " Now the Criterion version also has the clouds opening (The Original European Cut didn't) but it's funny because the Studio asked Gilliam to start off with the clouds for the US Cut and he actually prefers it as quoted in his Director's commentary. Hilarious. Little changes that add up to a tighter and overall, better film.
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Reviewed in the United States on July 12, 2011
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W.P.
Charlottesville, US
★★★★★ 5
Great cast; well directed
Great movie; lives up to its reviews
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Reviewed in the United States on March 25, 2026
B
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Basket Case
Fort Morgan, US
★★★★★ 5
An ageless classic !
I hadn't re-watched this movie since the first time I saw it, when it came out in 1985. Back then, it had stricken the public with its fatalistic and pessimistic view of an overwhelming bureacracy, a suggested characteristic of fully-centralised power in a controlled society in the future. Today, we can still admire some of its validity and premonitory qualities (and the sarcastic humour !). The dream-like scenes and symbols used in the film are also ageless. Ever-growing computer systems govern today the relationships we hold with banks, government departments, utilities, phone companies, etc. Who hasn't experienced the frustration of dealing with their 'machines' and/or incompetent & robotic bureaucrats when problems or errors arise in their service? 'Brazil' will seem so familiar! The omni-presence of screens in our lives, everywhere and incessantly offering us products or services, or used to control our movements and behaviour, is also a well-guessed futuristic scenario by Gilliam & co. And what to say about the 'terrorism' and the 'permanent state of fear' portrayed back then? Sounds familiar today? I recommend this movie to anyone interested in the threats of an unbridled, arrogant and all-powerful bureaucracy in human society. The film can be a bit 'heavy' at times, though. Not everyone's cup of tea. Watch it first, before sharing with friends or family.
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Reviewed in the United States on February 19, 2012

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