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philodendron hybrid orange

philodendron hybrid orange Philodendron 'Prince of Orange' – Foliage Factory

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Description

philodendron hybrid orange Philodendron 'Prince of Orange' – Foliage FactoryPhilodendron 'Prince of Orange' Philodendron 'Prince of Orange' is a self heading Philodendron grown for its colour changing new leaves. Fresh growth opens bright orange, then moves through apricot and yellow green before maturing to medium green. The colour is strongest on new leaves, so the plant carries its warmest tones at the centre of active growth rather than across every older leaf. This cultivar forms a compact rosette like crown with short

Philodendron 'Prince of Orange'

Philodendron 'Prince of Orange' is a self-heading Philodendron grown for its colour-changing new leaves. Fresh growth opens bright orange, then moves through apricot and yellow-green before maturing to medium green. The colour is strongest on new leaves, so the plant carries its warmest tones at the centre of active growth rather than across every older leaf.

This cultivar forms a compact rosette-like crown with short internodes and thick petioles. It does not need a moss pole to show its natural shape. The leaves rise from a central growing point, creating a full plant that suits pot culture well when the roots are kept aerated and the crown is not buried too deeply.

Orange new leaves and a self-heading crown

  • Growth habit: Self-heading Philodendron with a compact crown and very short internodes.
  • Leaf colour: New leaves emerge orange, then mature through apricot and yellow-green into green.
  • Leaf shape: Narrowly ovate leaves with a glossy surface and entire margins.
  • Support needs: No climbing support required; the plant is naturally crown-forming.

Patent background and leaf colour stages

USPP6797, “Philodendron plant named Prince of Orange,” was filed on 21 January 1988 and published on 16 May 1989. The patent describes a stocky, compact, self-heading Philodendron with bright orange new leaves maturing through apricot and yellow-green to green.

The patent names Howard N. Miller as inventor and Cora McColley of Orlando, Florida as assignee. Its breeding background is complex, involving Philodendron domesticum, Philodendron erubescens, Philodendron wendlandii, Philodendron imbe and Philodendron cannifolium within the breeding line. The resulting plant is a compact self-heading Philodendron selected for warm new-leaf colour, short internodes and a rosette-like crown.

The colour change is normal leaf development. Older green leaves are the mature stage of the leaf, while the strongest orange appears on fresh growth. Very harsh light can scorch new leaves, and weak conditions usually slow the production of fresh colour.

Care for orange new growth and compact crowns

  • Light: Give bright, indirect light to support healthy new growth. Avoid hot direct sun, especially on fresh orange leaves.
  • Watering: Water when the upper substrate has dried. The compact crown is sensitive to waterlogged roots, so drainage matters more than frequent watering.
  • Substrate: Use an airy aroid mix with bark, perlite or pumice and a moisture-retentive organic base. The mix should drain freely while staying lightly moist after watering.
  • Humidity: Moderate household humidity is usually tolerated, but steadier humidity helps new leaves expand smoothly from the crown.
  • Temperature: Keep warm, ideally 18–27°C. Avoid cold wet conditions around the roots.
  • Potting: Use a pot with drainage and avoid burying the crown. Repot only when roots fill the pot, moving up gradually in size.
  • Feeding: Feed lightly during active growth. A gentle, regular feed supports leaf production without pushing soft, weak growth.

Colour, crown and root issues to check

  • Older leaves turning green: This is normal maturity. Look at the colour of new growth when judging the plant’s condition.
  • Weak orange colour on new leaves: Check whether the plant is too cool or too far from bright indirect light. New growth shows the clearest colour when growth is active.
  • Yellowing lower leaves: Check root moisture, drainage and pot size. A dense wet mix can stress the roots.
  • Brown marks on new leaves: Move the plant away from direct sun or intense grow lights. Soft new tissue damages easily.
  • Crown rot risk: Keep water out of the central crown and avoid planting too deeply. Good airflow around the crown helps after watering.

Pet safety and handling

Philodendron 'Prince of Orange' is not pet-safe and should not be ingested. Leaves, stems and sap contain calcium oxalate crystals that can irritate the mouth, throat and digestive tract. Keep trimmed leaves away from pets and wash hands after pruning.

Name origin and botanical background

Philodendron is an aroid genus in the family Araceae, with a name derived from Greek words meaning “loving trees”. The cultivar name 'Prince of Orange' refers directly to the orange colour of the emerging leaves, the colour of the emerging leaves.

Philodendron 'Prince of Orange' forms a compact self-heading crown with orange new leaves that mature through warm green tones.

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Joel Bradford
Birmingham, 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
West Palm Beach, 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***
Lowell, 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.
Fort Morgan, 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
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Basket Case
Charlottesville, 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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