SKU: 39705380192
philodendron imperial green toxic

philodendron imperial green toxic 50

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Description

philodendron imperial green toxic 50Philodendron Imperial Green is a bold, self heading tropical hybrid admired for its large, glossy leaves and strong architectural form. A member of the Araceae family, this cultivar was bred to combine the tropical elegance of classic Philodendrons with a more compact, upright habit ideal for modern interiors. The broad, paddle shaped leaves are vibrant green with a smooth, polished surface, radiating outward from a central rosette. As the plant

Philodendron ‘Imperial Green’ is a bold, self-heading tropical hybrid admired for its large, glossy leaves and strong architectural form. A member of the Araceae family, this cultivar was bred to combine the tropical elegance of classic Philodendrons with a more compact, upright habit — ideal for modern interiors.

The broad, paddle-shaped leaves are vibrant green with a smooth, polished surface, radiating outward from a central rosette. As the plant matures, the foliage forms a lush, symmetrical crown, creating a naturally sculptural presence. Unlike climbing varieties, Philodendron ‘Imperial Green’ maintains a self-supporting growth habit, making it both low-maintenance and beautifully tidy.

Striking yet easy to care for, Philodendron ‘Imperial Green’ is a timeless favourite for collectors and interior designers alike — a plant that exudes strength, balance, and tropical sophistication.


Philodendron ‘Imperial Green’ – Care Guide

Light

Thrives in bright, indirect light, which supports lush growth and deep green foliage. It can tolerate moderate light levels but may grow more slowly in shaded conditions. Avoid harsh direct sun, which can scorch the broad leaves, or very dim light, which can cause legginess.

Watering

Keep the soil evenly moist but never waterlogged. Water when the top 3–4 cm of soil feels dry to the touch. Consistent watering encourages steady growth, but always ensure good drainage to prevent root rot. In winter, reduce watering frequency as growth naturally slows.

Temperature and Humidity

  • Temperature: Prefers warmth between 20–30 °C; avoid temperatures below 16 °C.

  • Humidity: Tolerates average household humidity but thrives in moderate to high levels (50–70%). Occasional misting or use of a humidifier will help maintain healthy, glossy foliage.

Soil and Potting

Use a rich, well-draining aroid mix, such as compost combined with orchid bark, perlite, and coco coir. This ensures airflow around the roots while holding gentle moisture. Repot every 1–2 years in spring to refresh the substrate and provide space for root growth.

Feeding

Feed every 4–6 weeks during spring and summer with a diluted, balanced liquid fertiliser formulated for foliage plants. Over-fertilising can cause leaf tip burn or salt build-up. Suspend feeding in autumn and winter.

Pruning and Maintenance

Prune occasionally to remove yellow or damaged leaves and maintain shape. Wipe leaves gently with a damp cloth to remove dust and highlight their natural shine. Rotate the plant every few weeks to encourage even light exposure and symmetrical growth.

Growth and Maturity

A moderate grower, Philodendron ‘Imperial Green’ typically reaches 80–100 cm in height and width indoors. Its upright, rosette form makes it perfect as a floor plant or statement piece in medium to large spaces. Over time, mature plants produce large, smooth leaves that radiate from the centre, creating a dense, tropical canopy.

Common Issues

  • Yellowing leaves: Overwatering or poor drainage.

  • Brown edges: Low humidity or inconsistent watering.

  • Drooping: Underwatering or sudden temperature change.

  • Pests: Occasionally mealybugs or thrips; treat promptly with neem oil or insecticidal soap.


Background and Benefits

Hybridised from tropical Philodendron species native to South America, Philodendron ‘Imperial Green’ was developed for its compact growth, resilience, and bold foliage. It belongs to a family of self-heading hybrids — including ‘Imperial Red’ and ‘Congo Green’ — designed to thrive in indoor conditions while maintaining their natural tropical grandeur.

In addition to its sculptural appeal, it is also a powerful air-purifying plant, filtering indoor toxins such as formaldehyde and benzene. Symbolically, its bright green leaves represent vitality, renewal, and growth, making it a perfect addition to homes and workspaces that embrace biophilic design.


Quick Care Summary

Light: Bright, indirect light; tolerates moderate light
Water: Keep soil evenly moist; allow top 3–4 cm to dry before watering
Temperature: 20–30 °C; avoid below 16 °C
Humidity: Moderate to high (50–70%)
Soil: Rich, airy aroid mix – compost, bark, perlite, coco coir
Feed: Every 4–6 weeks in spring/summer
Growth: Upright, self-heading habit, 80–100 cm; large glossy green leaves in dense rosette form

⚠️ Toxicity note: Contains calcium oxalate crystals and is toxic if ingested. Keep away from pets and children.


Styling Tip

Display Philodendron ‘Imperial Green’ in a tall ceramic or stone-effect planter to emphasise its upright form and glossy foliage. It pairs beautifully with colourful species such as Aglaonema ‘Red Valentine’ or silver-toned plants like Scindapsus treubii ‘Moonlight’. Ideal for bright living rooms, offices, or hotel lobbies, its rich, green canopy introduces calm, strength, and a refined tropical atmosphere to any space.

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    SKU: 39705380192

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    4.3 ★★★★★
    Based on 9 reviews
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    M
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    Mr. Watkins
    Cuba, 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
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    ***moviemaker***
    Alexandria, 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
    W
    Verified Purchase
    W.P.
    Battle Creek, 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
    Dallas, 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
    J
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    johnf
    Waukegan, US
    ★★★★★ 5
    The music is lovely, Catherine Deneuve is beautiful and the story will tear you apart.
    The word "Masterpiece" is thrown about often in the worlds of film and music but in this case this is the real thing. The Umbrellas of Cherbourg is one of those rare instances where everything came together in a film in a serendipitous way that would never be duplicated. Not only that, but made by two up and coming young men who had only done two films before with a cast of mostly unknowns. Then, to top it all off, it would not just be a musical, but a film sung completely through like opera, something completely unique and untried. Try selling a concept like that to one of today's studios. Fortunately the early sixties was a much looser time with many movie studios and open minds willing to try new things. The director was Jacques Demy, whose first film, Lola (1961) included music but was shot in the more usual black and white. His co-creator was Michel Legrand, already known as a jazz pianist who had had hit albums and even toured America. The music would be light,, but not operetta; it would be updated to include strong influences of chanson, pop and jazz with a little Baroque counterpoint thrown in (Legrand had been classically trained). This time the film would be shot in super-saturated color with sets painted vibrant, almost expressionist colors. And it all would center around a young and virtually unknown Catherine Deneuve and Nino Castelnuovo as Genevieve and Guy, the very personification of young love in a rainy Spring. The resulting film is completely transporting. The story is very old, the treatment very new and the end result is something to be experienced. The singing somehow seems completely natural, more natural in a way, than films with spoken dialogue that break into songs from time to time. Here in a world of continuous music, love has turned everything into a dizzily colored poem that peaks when Guy is to be sent away to fight in the war in Algeria. Fate takes a big hand in the consequences creating unforseen results. The supporting cast are as good as the principals, with Anne Vernon (Madame Emery) the veteran of many films and Marc Michel (Roland Cassard) coming in having played the same character in Lola, a signature quirk of the director. The music produced two early sixties hits, I Will Wait For You and Watch What Happens. Mr. Legrand's familiarity with the worlds of pop and jazz kept everything fresh-sounding and up to date. You also note subtle touches like the opening jazzy music set in 1957 is very brassy and big band sounding while in the 1963 final scene it's the cool jazz of that time. The colors are so captivatingly brilliant that when establishing shots of the actual Cherbourg are shown it seems like another world. If you like romances, this is one of the classics. If you are open to musicals you will have no trouble with the fact that the entire film is sung. This is a most memorable and worthy film.
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    Reviewed in the United States on January 31, 2016

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