SKU: 94846647111
lemon lime philodendron vs moonlight philodendron

lemon lime philodendron vs moonlight philodendron Moonlight Philodendron 8" Pot / Self Watering / With Pot

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Description

lemon lime philodendron vs moonlight philodendron Moonlight Philodendron 8" Pot / Self Watering / With PotThe Moonlight Philodendron is a beautiful and popular houseplant that has fluorescent yellow leaves that add a pop of color to your home. It is a tropical hybrid characterized by glossy, color changing leaves that change from bright neon yellow to a brilliant green color. Native to South America, the name Moonlight was inspired by the plants stunning chartreuse to lime colored leaves, which reflect and catch light in a way that appears to glow, much

The Moonlight Philodendron is a beautiful and popular houseplant that has fluorescent yellow leaves that add a pop of color to your home. It is a tropical hybrid characterized by glossy, color-changing leaves that change from bright neon yellow to a brilliant green color. 

Native to South America, the name “Moonlight” was inspired by the plant’s stunning chartreuse-to-lime-colored leaves, which reflect and catch light in a way that appears to glow, much like moonlight itself.

This plant is sometimes simply referred to as the “Moonlight Philodendron” or “Lemon Philodendron” due to its lemony hue.

The Philodendron Moonlight is a clump-forming, self-heading plant, meaning it doesn’t climb but rather grows in a bushy form.

This unique growth pattern makes it compact and well-suited for indoor settings. It typically reaches a mature size of about 4 feet tall and wide, though in optimal outdoor conditions, it can grow larger. 

The leaves are broad, egg-shaped, and leathery in texture, giving the plant a lush and full look. New leaves emerge in bright yellow or lime green and gradually deepen to a medium green as they mature, providing a striking contrast on the plant itself. 

While the flowers of Philodendron Moonlight rarely bloom indoors, mature plants may develop white or light green spathes, which resemble the blooms of peace lilies. These flowers are subtle compared to the plant’s foliage, but they add a unique touch to the plant when they do appear. To encourage flowering, the plant must have ample warmth, humidity, and light.

One of the most notable benefits of the Philodendron Moonlight is its air-purifying qualities. It helps to remove common indoor air pollutants, including formaldehyde and benzene, by absorbing these toxins and converting them into oxygen. Having this plant indoors can improve air quality, contributing to a healthier living environment. Its low-maintenance care requirements and compact size also make it a practical choice for offices, bedrooms, and small apartments.

It’s often used as an accent plant in homes and offices, bringing a pop of color to minimalist decor or complementing other green foliage in plant arrangements. Whether as a standalone statement or as part of a collection, this philodendron makes a striking addition that suits various aesthetic styles.

When and How to Water Your Moonlight Philodendron 

The drought-tolerant Philodendron moonlight plant doesn't need a lot of water to thrive. This means you can let the soil dry out somewhat between waterings to prevent overwatering, which can lead to root rot. When watering your Philodendron Moonlight, make sure to water it thoroughly but allow the top inch or so of the soil to dry out before watering again.

In the spring and summer, during the growing season, your Philodendron moonlight may appreciate a bit more hydration typically every 1-2 weeks. You can increase the frequency of watering slightly during this period to support its growth. Water the plant when the top inch of soil feels dry to the touch, ensuring that excess water can drain out of the pot to prevent waterlogged soil.

During the fall and winter months when the plant is dormant, modify your watering schedule to correspond with its slower growth rate. During these cooler months, the Philodendron Moonlight will require less water typically once a month, so you can space out your watering sessions. Allow the soil to dry out a bit more between waterings, but still ensure the plant receives adequate hydration to maintain its health during the dormant period. By adjusting your watering routine based on the plant's growth stages, you can help your Philodendron Moonlight thrive throughout the year. 

Light Requirements – Where to Place Your Philodendron moonlight 

When grown indoors, the Philodendron moonlight plant enjoys bright, indirect light for at least 4-6 hours a day. It thrives in spaces with ample natural light but without direct sunlight, which can scorch its leaves. You can place your Philodendron Moonlight near a window where it can receive filtered sunlight or use sheer curtains to diffuse the light.

If your indoor space lacks natural light, you can supplement with artificial grow lights to meet the plant's light needs.

For outdoor cultivation, ensure it is in a location that offers bright, indirect light. Avoid exposing the plant to direct sunlight, especially during the intense midday sun, as this can cause sunburn on the leaves.

Providing a shaded spot with filtered sunlight or dappled shade can create an ideal outdoor environment for your Philodendron Moonlight to thrive.

Remember to monitor the plant's response to its new outdoor setting and adjust its placement if needed to optimize its light exposure.

Optimal Soil & Fertilizer Needs 

The Moonlight Philodendron prefers well-drained soil to avoid root rot. A good mix for this plant is a well-aerated, peat-based potting mix that retains some moisture but allows excess water to drain away. Make sure the pot has drainage holes to let excess water escape. Instead, make or buy a well-draining potting mix, or ideally use our specialized potting mix, opens in a new tab that contains 5 natural substrates and mycorrhizae to promote the development of a strong root system that helps your plant to thrive.

In terms of fertilizing your moonlight plant, during the growing season in spring, you can feed it with a balanced NPK fertilizer once a year. This will provide the plant with essential nutrients to support its growth and keep its foliage vibrant. However, during the fall and winter months when the plant is in its dormant phase, you can reduce or stop fertilizing altogether since the plant's growth slows down during this time. 

Remember not to over-fertilize your plant, as this can lead to mineral buildup in the soil, causing harm to the plant. Always follow the instructions on the fertilizer packaging and adjust the feeding schedule based on the plant's growth and the time of year.

Hardiness Zones & More 

When growing indoors, this Philodendron plant thrives in typical indoor temperatures ranging from 65°F to 80°F. It's essential to avoid exposing the plant to sudden temperature fluctuations, drafts, or cold air, as this can stress the plant and affect its growth. Keeping the indoor humidity levels around 40% to 60% can create an ideal environment for your Philodendron Moonlight, preventing issues like dry leaf tips or yellowing. 

For outdoor cultivation, it typically thrives in bright, indirect light in USDA zones 10 to 11, where temperatures are consistently warm. These zones generally experience mild winters and warm to hot summers, providing ideal conditions for tropical plants to flourish.

If you live in a region outside these zones but still want to grow this plant outdoors, consider using containers that can be moved indoors during colder months to protect the plant from frost or freezing temperatures. 

Wildlife Moonlight Plants Attracts the Following Friendly Pollinators

The Philodendron Moonlight plant can attract pollinators like bees, hummingbirds, butterflies, and insects with its beautiful foliage and sometimes flowers. These pollinators play a crucial role in the plant's reproduction process by transferring pollen from one flower to another, aiding in the production of seeds and fruits.  

Butterflies
Bees
Hummingbirds
Lady Bugs
Multi Pollinators
Other Birds

According to the ASPCA, the Moonlight Philodendron plant is considered mildly toxic to humans, cats, and dogs if ingested in large amounts. While touching the Moonlight Philodendron is safe, ingesting even a small bite can cause symptoms such as oral irritation, drooling, and mild discomfort. Eating larger amounts may lead to more severe symptoms, including vomiting and difficulty swallowing. Always wash your hands after handling the plant and keep it out of reach of pets and children. 

How to Propagate Your Philodendron Moonlight

To propagate your Philodendron moonlight plant, you can use stem cuttings. Select a healthy stem with a few leaves and make a clean cut just below a node. Remove the lower leaves to expose the node. Place the cutting in water or a well-draining soil mix, ensuring the node is submerged or covered. Keep the cutting in a warm, humid environment with indirect light. Roots should start to develop in a few weeks. Once the roots are established, you can transplant the cutting into a pot with a potting mix suitable for Philodendrons. Regularly water the new plant and provide it with indirect light to help it thrive and grow into a mature Moonlight Philodendron. 

Key Takeaways 

  1. Philodendron Moonlight is celebrated for its vibrant, neon green to yellow leaves that appear to glow, especially under bright, indirect light. This unique color has earned it the name “Moonlight,” as its leaves resemble a soft, illuminated effect.
  2. Unlike many philodendrons, which are known for climbing or trailing, Moonlight is a self-heading variety. This means it grows in a compact, bushy shape rather than vining, making it ideal for indoor spaces where vertical space is limited.
  3. It has air-purifying properties, helping to remove toxins like formaldehyde from indoor environments. This can improve air quality, making it a practical choice for homes and offices.
  4. It is relatively drought-tolerant once established, able to go without water for short periods. While it prefers consistently moist soil, it can handle occasional dry spells, making it a resilient choice for plant owners who may occasionally forget a watering.

The Bottom Line 

Overall, the Philodendron Moonlight is a visually striking and easy-care plant, perfect for adding vibrant color and life to any indoor space. With its glowing lime-green foliage and compact, self-heading growth habit, this philodendron is ideal for those looking to make a statement without needing extensive care. As a resilient, drought-tolerant plant, it thrives in bright, indirect light but can adapt to lower light conditions, making it suitable for various home or office settings. To keep it happy, provide well-draining soil and water when the top inch of soil feels dry, allowing it to dry out slightly between waterings. Additionally, its natural air-purifying abilities and relatively low maintenance needs make it an excellent choice for both new and experienced plant enthusiasts. With the Philodendron Moonlight, buyers can enjoy an attractive, low-maintenance plant that not only enhances their space but also contributes to a healthier indoor environment. 

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4.6 ★★★★★
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Stephen McLeod
Port Orchard, US
★★★★★ 5
One of the greatest in SPECTACULAR DVD package
This new Criterion Collection edition of *8 1/2* is one of the best DVD "special edition" sets I've come across. The Movie: Fellini's breakthrough film is a movie about itself. It is archetypal in the Fellini canon because it both settles old scores and announces a new cinema. The film's hero is an Italian filmaker (Mastroianni as "Guido" a quasi-alter ego for the director) who has just had his first major hit (=La Dolce Vita). He is not resting on his laurels, however. He is confronted with the necessity of the next movie. This necessity is both personal to the director and apparently contractual: the producer is forever hovering... To Guido, it is an inner necessity, an unrest, a creative suffocation, objectified in the opening sequence of the movie where Guido is seen/not seen by the camera, trapped inside a tiny car that is itself trapped in a traffic jam that stretches endlessly beyond available light as the car fills with toxic gas. We see the as yet unidentified hero in silhouette from behind. We see his hands and feet from outside the car, through the window as he desparately tries to escape. Then, he mysteriously escapes through the car's roof like a new bird escaping its shell and is carried off into the clouds, etc. The trouble is, this is a wish fulfillment dream. In "real" life, Guido is about to make a movie, and he has no idea what it's going to be about, or what to do with all the actors and extras, and the giant launching pad for some kind of space-ship that is the only thing even close to a concrete idea for the projected picture. The film is not, however, a perfect autobiographical fit. For one thing, Fellini gets to finish his movie and Guido, evidently, does not. But, that said, the movie is a virtual mirror of itself, which was a very hard thing to pull off in 1962, before the concept of "virtual" was annexed by the codifiers of computer jargon, and *8 1/2* is nothing if not a virtuoso performance. Fellini's breakthrough is the film we watch. But in the film, the hero finds the resolution to his anguish, not in finding the project - that is, in making what would have been the film-about-itself within the film-about-itself within the film-about-itself that we are, finally, watching - but in letting go of the project, in surrendering to the impossibility of finding it or making it. Precisely *on the other side of his own fantasy-suicide*, at the moment when he apparently gives in to despair, he discovers the circle of life and becomes able to join into the procession of lives into which his own life is finally intertwined. So, this is an essential film. And it is a film so rich in texture that a person could watch the movie a hundred times and find new things to wonder at, and discover new connections between the One and the Many - Fellini's personal/existential problem. The DVD: First disc contains a sparkling transfer of the movie that restores a luster to the angular lights and shadows in Fellini's final black & white movie. Audio commentary by a couple of scholars and Fellini's former close accomplice Gideon Bachman. Second disc contains Fellini's famous "Director's Notebook" of 1968(-9), an hour-long movie that was originally made for television, as well as another documentary about composer Nino Rota, and various interviews, including one with the ever-fiesty Lina Wertmueller who was Fellini's Asst. Director on *8 1/2*. The package also comes with a really interesting little booklet with lots of information and a thoughtful mini-essay. Overall a great package that I'll not regret buying.
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Reviewed in the United States on January 5, 2002
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Old Cinephile
Pawtucket, US
★★★★★ 5
"Happiness consists of being able to tell the truth without hurting anyone."
From the stunning, groundbreaking opening sequence of escaping asphyxiation to the fantastical harem scene to the final realization to become PART of life instead of just trying to control or run from it, Fellini's masterpiece gives us one of cinema's great rollercoaster rides of guilt, artistic creativity and self-acceptance. Certainly, one of the most influential films of all time it breaks completely free of convention and introduces us to the inner workings of director Fellini's world. And we are much richer for the journey. Sometimes painful, sometimes supremely funny we can't wait to find out about another hidden treasure or nightmare locked away in the mind of Guido Anselmi. You'll never think about directors and film making quite the same way again. Criterion does a fine job with this Blu-ray release. The restored image here has deep blacks, solid greyscale and brilliant whites. Grain is very tight with nice detail. Details in the characters' faces are easily seen. The cleaned up restored mono soundtrack is clear and the musical elements are without distortion. As usual for Criterion, the supplements are extremely generous with several fine documentaries, interviews, and a nice booklet with writings by Fellini and critics. Truly a must own for any physical media collection.
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Reviewed in the United States on May 12, 2024
C
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Christina Reynolds
Phoenix, US
★★★★★ 5
A Tangled (But Necessary) Mess
My rating is more of a 4.5 Thanks for reading! 𝑰'𝒎 𝒏𝒐𝒕 𝒂𝒇𝒓𝒂𝒊𝒅 𝒂𝒏𝒚𝒎𝒐𝒓𝒆 𝒐𝒇 𝒕𝒆𝒍𝒍𝒊𝒏𝒈 𝒕𝒉𝒆 𝒕𝒓𝒖𝒕𝒉, 𝒐𝒇 𝒕𝒉𝒆 𝒕𝒉𝒊𝒏𝒈𝒔 𝑰 𝒅𝒐𝒏'𝒕 𝒌𝒏𝒐𝒘, 𝒘𝒉𝒂𝒕 𝑰'𝒎 𝒍𝒐𝒐𝒌𝒊𝒏𝒈 𝒇𝒐𝒓 𝒂𝒏𝒅 𝒉𝒂𝒗𝒆𝒏'𝒕 𝒇𝒐𝒖𝒏𝒅. 𝑻𝒉𝒊𝒔 𝒊𝒔 𝒕𝒉𝒆 𝒐𝒏𝒍𝒚 𝒘𝒂𝒚 𝑰 𝒄𝒂𝒏 𝒇𝒆𝒆𝒍 𝒂𝒍𝒊𝒗𝒆 𝒂𝒏𝒅 𝑰 𝒄𝒂𝒏 𝒍𝒐𝒐𝒌 𝒊𝒏𝒕𝒐 𝒚𝒐𝒖𝒓 𝒇𝒂𝒊𝒕𝒉𝒇𝒖𝒍 𝒆𝒚𝒆𝒔 𝒘𝒊𝒕𝒉𝒐𝒖𝒕 𝒔𝒉𝒂𝒎𝒆. 𝑳𝒊𝒇𝒆 𝒊𝒔 𝒂 𝒄𝒆𝒍𝒆𝒃𝒓𝒂𝒕𝒊𝒐𝒏. 𝑳𝒆𝒕'𝒔 𝒍𝒊𝒗𝒆 𝒊𝒕 𝒕𝒐𝒈𝒆𝒕𝒉𝒆𝒓! 8 & ½ s a 1963 Italian surrealist psychological comedy-drama film directed and co-written by Federico Fellini. Troubled Italian filmmaker Guido Anselmi struggles with creative stasis as he attempts to get a new movie off the ground. Overwhelmed by his work and personal life, the director retreats into his thoughts, which often focus on his loves, both past and present, and frequently wander into fantastical territory. As he tries to sort out his many entanglements, romantic and otherwise, Anselmi finds his production becoming more and more autobiographical. In the time it takes to complete a single project a director will don countless hats and faces, 8 & ½ centered around the demands of this position and the chaos that transpires on a given film set. Born January, 20th, 1920, Fellini started working on movies in the capacity of a screenwriter, his earliest works including varying radio sketches and recipiency of his first screen credit for 𝑻𝒉𝒆 𝑷𝒊𝒓𝒂𝒕𝒆'𝒔 𝑫𝒓𝒆𝒂𝒎 in 1940. Shortly thereafter Fellini found himself continuously having more responsibility put on his plate, with some assignments requiring him to provide labor he hadn’t expected before: example of which being when he had to some acting of his own while 𝑳'𝑨𝒎𝒐𝒓𝒆 (1948) was in production. These roles run amok in 8 & ½, eventually culminating in Guido’s hesitancy to hand full reign of a given task to a given (But seemingly qualified) colleague, his worry somewhat rooted in the anticipated receptiveness of his anticipated audience to his final product; likewise, this disposition is further informed by what Fellini’s perceived as overt failures prior to the 8 & ½, as 𝑽𝒂𝒓𝒊𝒆𝒕𝒚 𝑳𝒊𝒈𝒉𝒕𝒔 (1950) left him with debts that took a decade to resolve on the account of it being poorly received. So begs the question at the root of Guido’s tangential laments and ruminations: Should movies be made primarily for an audience as a remote victory or reflective of its crew as a personal disaster? 8 & ½ opens on Guido Anselmi: Marcello Mastroianni bringing just the right amount of cool and cosmopolitan with an almost hitman disposition; as the production he is in charge of unfolds his appearance cracks under the pressure of this creation, in due time revealing someone that isn’t as confident as he appears and further upon at great risk of sinking in to an otherwise listless existence. Anselmi’s woes are interspersed with what can only be described as hazy dreams, the latter more overtly inspired by the subjects of religion and a pair of parental figures whom remain unimpressed by their sons’ abilities after having already passed away. Further investigation reveals to what extent these may be manifestations of insecurity on Fellini’s behalf; prior to working on films Fellini enrolled in a law school for the sake of pleasing his parents (though no record exists of him ever attending a class), and in spite of considering himself to be Catholic he avoided former activity in a corresponding church. No-one can speak with confidence as to what drove this refusal, except to say on the topic of faithfulness in the context of his marriage he was a known transgressor: so much so that in spite of marrying Giulietta Masina in 1943 he attended the funeral of his father with an identified mistress in 1956. Whether out of embarrassment, shame, or whatever else may be attributable, Guido’s stream of consciousness (And disloyalty to his partner Luise), as it play out in 8 & ½ is a muddle of personal experiences, and then some as evidenced by Fellini’s own comments aside: 𝑰𝒕 𝒊𝒔 𝒏𝒐𝒕 𝒎𝒆𝒎𝒐𝒓𝒚 𝒕𝒉𝒂𝒕 𝒅𝒐𝒎𝒊𝒏𝒂𝒕𝒆𝒔 𝒎𝒚 𝒇𝒊𝒍𝒎𝒔. 𝑻𝒐 𝒔𝒂𝒚 𝒕𝒉𝒂𝒕 𝒎𝒚 𝒇𝒊𝒍𝒎𝒔 𝒂𝒓𝒆 𝒂𝒖𝒕𝒐𝒃𝒊𝒐𝒈𝒓𝒂𝒑𝒉𝒊𝒄𝒂𝒍 𝒊𝒔 𝒂𝒏 𝒐𝒗𝒆𝒓𝒍𝒚 𝒇𝒂𝒄𝒊𝒍𝒆 𝒍𝒊𝒒𝒖𝒊𝒅𝒂𝒕𝒊𝒐𝒏, 𝒂 𝒉𝒂𝒔𝒕𝒚 𝒄𝒍𝒂𝒔𝒔𝒊𝒇𝒊𝒄𝒂𝒕𝒊𝒐𝒏. 𝑰𝒕 𝒔𝒆𝒆𝒎𝒔 𝒕𝒐 𝒎𝒆 𝒕𝒉𝒂𝒕 𝑰 𝒉𝒂𝒗𝒆 𝒊𝒏𝒗𝒆𝒏𝒕𝒆𝒅 𝒂𝒍𝒎𝒐𝒔𝒕 𝒆𝒗𝒆𝒓𝒚𝒕𝒉𝒊𝒏𝒈: 𝒄𝒉𝒊𝒍𝒅𝒉𝒐𝒐𝒅, 𝒄𝒉𝒂𝒓𝒂𝒄𝒕𝒆𝒓, 𝒏𝒐𝒔𝒕𝒂𝒍𝒈𝒊𝒂𝒔, 𝒅𝒓𝒆𝒂𝒎𝒔, 𝒎𝒆𝒎𝒐𝒓𝒊𝒆𝒔, 𝒇𝒐𝒓 𝒕𝒉𝒆 𝒑𝒍𝒆𝒂𝒔𝒖𝒓𝒆 𝒐𝒇 𝒃𝒆𝒊𝒏𝒈 𝒂𝒃𝒍𝒆 𝒕𝒐 𝒓𝒆𝒄𝒐𝒖𝒏𝒕 𝒕𝒉𝒆𝒎. 8 & ½ in its infancy came to Fellini in 1960, at that time described as being about a man with an unidentified profession suffering from creative block on the account of his life being disrupted by a “not-too-serious disease”. Given the go ahead to start production in 1962, Fellini would eventually draft a letter confessing that he had “lost his film” with the intent of abandoning the production, this action interrupted by a request to launch the celebration of it; it was only then that Fellini decided to tell a story about a director who know longer knew what kind of film he wanted to make. Both a sign of the times and personal preference, 8 & ½’s dialogue was edited and finalized in its post-production phase: a practice that allowed for the use of less experienced actors at the cost of them needing more direction on set in addition to the dubbing of related noises after the fact. In light of this, and perhaps needless to say, what 8 & ½ reflects in regards to stifled expressiveness feeds into its otherwise harebrained pacing, not to mention the drab of its monotone landscape. During the earlier part of Fellini's career his film related assignments took on an ulterior motive: they allowed for him to avoid the draft associated with a declaration of war made against France and Britain on Benito Mussolini’s behalf, and was something that would inform the nature of his work until approximately 1945. The extent to which this habit of coming on board any given film-related opportunity affected the entirety of his filmography was never addressed - much less inquired about - though it would be appropriate to underscore what this had to have demanded in light of reception that was unpredictable. The good news is that by the time 8 & ½ was released Fellini had made well-enough of a name for himself given the broad applicability of the themes he entertained, though this established competency made him no more immune to the demands made by the Production Studios he’d end up collaborating with: this is most reflected in 8 & ½’s conclusion, as it was originally intended to implicate suicide more explicitly as a ‘viable option’ for Guido. Fairly describable as a tangled mess of hope, fantasy, and some extent delusion, 8 ½ walks that fine line between pleasing the masses and rubbing its own ego, and perhaps that’s why it was robbed of its working title, ‘𝑻𝒉𝒆 𝑩𝒆𝒂𝒖𝒕𝒊𝒇𝒖𝒍 𝑪𝒐𝒏𝒇𝒖𝒔𝒊𝒐𝒏’; but, then again, maybe that’s what happens when art imitates life and vice versa.
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Reviewed in the United States on May 13, 2024
R
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Randy Keehn
Waukegan, US
★★★★★ 5
How Good is Great?
I purchased this DVD because of its' sustained superior ratings in the Sight and Sound survey every decade of the best films of all time. Obviously, there must be something very great about this movie. There is but but there are some second thoughts that plagued me along the way. First of all, I am always impressed by a film's ability to hold our attention. This is often where the skill of film editing is best appreciated. I confess that I found myself looking for some scenes in "8 1/2" to move along. This is a cerebral movie, not an action movie but there seemed to be a fair amount of redundancy. Secondly, I was surprized by the sound work on this movie. I made a quick glance at a few other reviews but didn't see any similar comments. Thus I don't know if it was just my copy. However, the sound didn't match up with the film very well at all. This gives the movie an odd appearance of being an Italian movie dubbed in Italian. Was I missing something? Finally, the message in this film, for me, was "to your own self be true" which is certainly a valid philosophy; just ask Socrates. However, it was stretched to come across as "accept me for who I am, not whom you want me to be". This message is still a valid philosophy but a bit harder for some of us to accept. Having said all of that, let me praise the movie; (I DID give it a "5" after all). The acting is terrific; especially Marcello Mastroianni whose air of detachment fit the movie so well. The photography (B&W) was excellent, as well. The story is one of a director who has lost his own direction. As he stumbles aimlessly along supposedly putting together a film, his inteactions with others and his reminiscences give us an insight to his confusion. His world is overwhelming him and he can't figure out where to turn. He is much the victim of himself (which makes the message that much harder to swallow). As his crisis reaches its' own crisis, the movie rights itself with his discovery of his own self-awareness. Everything comes together at the end with a message of hope (primarily for the director). The beauty of the movie is how we are able to follow the character's collapse and rebirth. It is also in the way we can see the rest of the world through his own eyes. This is the sort of movie that will expand with each re-viewing. The DVD contains a second disc with information and reviews about the movie and the Director. This is a good movie that caught me off-guard because I was victimized by too much advance hype. I understand the hype but it would have been better to discover it for myself. Discover it for yourself and it will be a movie you'll remember.
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Reviewed in the United States on April 4, 2004
Y
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yummymayo
Natrona Heights, US
★★★★★ 5
BD Version.
One of my top five films of all time. I won't speak much about the film itself, under the assumption most readers have already seen it. You can be guaranteed a fantastic film if you haven't seen this yet. As far as the BD itself, the transfer is absolutely fantastic! The DVD version itself already had a pretty pristine transfer, but of course with the BD upgrade the resolution and detail is so much better, and of course comes loaded with extras and an accompanying booklet that is actually quite thorough and should be considered an item in itself, and not just a supplement to the disc. I haven't watched them all, but the extras that are bundled with the film are plentiful and quite informative. Often times with extras you feel as though it is just filler and fodder (let's be honest, it usually is) but at least Criterion makes a conscious effort to make it interesting. I'd say the extras are worthwhile, and also an upgrade from the DVD version. The biggest difference I noticed from my first viewing is that the subtitles are slightly changed from the DVD version, and also theatrically. There are probably lots of different translations, but it IS different from the DVD but not drastically. The same point is made, but just using a different delivery. Not sure how I feel about some of the changes, but I probably just got used to the previous translation. I'm not sure where some of these discrepancies or complaints are coming from that have surfaced recently, but my copy was packaged in the special made Criterion jewel cases, NOT the cardboard ones, and of course not the actual blue ones. For a while, with some of the earlier releases, Criterion was releasing its BDs in cardboard slip case and digi-pack format which angered a lot of customers who spoke their voice and got them to upgrade to the now standard jewel cases. A good move in my opinion, but now I'm stuck with Third Man and 400 Blows in cardboard. Reportedly, you can send in the old cases to get upgraded to new ones, but it'll cost you 5 bucks each, so... I think I can live with it.
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Reviewed in the United States on January 24, 2010

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