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Description
caring for an philodendron erubescens Philodendron erubescens 'Red Emerald' – Foliage FactoryPhilodendron erubescens 'Red Emerald' Philodendron erubescens 'Red Emerald' is a climbing Philodendron with glossy green leaves, wine red stems and coloured new growth. It lengthens from visible nodes, produces aerial roots and can be trained upward on a moss pole or trellis. Red stems and petioles stay visible as the plant climbs, while mature leaves settle into a glossy green surface. New growth may open with warmer tones before hardening off. Wine
Philodendron erubescens 'Red Emerald'
Philodendron erubescens 'Red Emerald' is a climbing Philodendron with glossy green leaves, wine-red stems and coloured new growth. It lengthens from visible nodes, produces aerial roots and can be trained upward on a moss pole or trellis.
Red stems and petioles stay visible as the plant climbs, while mature leaves settle into a glossy green surface. New growth may open with warmer tones before hardening off.
Wine-red stems on Philodendron 'Red Emerald'
- Stem colour: Deep red to burgundy stems and petioles contrast with glossy green leaves.
- Growth habit: Climbing vine that responds well to a moss pole or trellis.
- Leaves: Smooth, leathery green leaves that can gain size with stable support.
- Pruning: Node-bearing stems can be cut back to control height or produce cuttings.
Philodendron erubescens climbing background
Philodendron erubescens comes from wet tropical forest in Colombia and grows as a climber. 'Red Emerald' follows that red-stemmed climbing habit, with coloured petioles, glossy leaves and a stem that benefits from early training.
Train the vine while the stems are still flexible; older stems become heavier and harder to redirect. A textured pole gives the aerial roots a surface to grip as the plant gains height.
Red-stem care for Philodendron 'Red Emerald'
- Light: Bright indirect light keeps the vine from stretching too much; avoid long exposure to direct afternoon sun.
- Watering: Water after the top 20–30% of the substrate has dried, then empty any standing water.
- Substrate: Use a free-draining aroid mix with chunky bark, perlite or pumice, and a small amount of composted organic matter.
- Support: Train new stems early so internodes stay manageable and leaves face outward.
- Humidity: Moderate to good humidity supports smooth new growth, especially while leaves are unfurling.
- Feeding: Feed lightly during active growth; reduce fertiliser when light and growth slow down.
- Temperature: Keep it in warm indoor conditions, preferably above 18°C at night.
- Potting: Use a pot with drainage and repot when the roots have filled the container or the vine dries out too quickly.
- Propagation: Propagate from stem cuttings with at least one node; single leaves without a node will not produce a new vine.
- Pruning: Cut above a node to shorten the vine or encourage new growth from lower points on the stem.
- Semi-hydroponics: Can adapt to mineral substrates such as pon, pumice, lava or LECA if roots are transitioned carefully and the stem base is kept aerated.
- Growth rate: Usually moderate to fast in warm, bright indoor conditions with steady support.
Philodendron 'Red Emerald' stem and leaf issues
- Long gaps between leaves: Move the plant closer to bright filtered light and secure the stem to its support.
- Soft, yellowing leaves: Check whether the mix is staying wet too long around the roots.
- Scorched patches: Shift it away from direct sun, especially behind glass in summer.
- Pest marks on new growth: Inspect petiole bases and unfurling leaves for spider mites, thrips, scale or mealybugs.
Philodendron 'Red Emerald' pet safety
Philodendron erubescens 'Red Emerald' is not suitable for pets that nibble plants. Sap and plant tissue can irritate the mouth and skin, so clean pruning tools and remove cut stems after trimming.
Philodendron erubescens etymology and publication
The genus name Philodendron comes from Greek roots meaning tree-loving. Philodendron erubescens was first published by K. Koch and Augustin in Index Seminum in 1855. The species epithet erubescens means reddening or blushing, referring to the red tones associated with the species.
Order Philodendron erubescens 'Red Emerald' for a red-stemmed climbing Philodendron with glossy green leaves and strong vertical growth.
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4.5 ★★★★★
Based on 10 reviews
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Product Reviews
★★★★★ 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
★★★★★ 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
★★★★★ 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
★★★★★ 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
★★★★★ 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