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succulent plant that grows tall

succulent plant that grows tall Shop 'Pedilanthus bracteatus - Tall Slipper Plant' Care and Growing Guide

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succulent plant that grows tall Shop 'Pedilanthus bracteatus - Tall Slipper Plant' Care and Growing GuideIntroducing the Pedilanthus bracteatus, known as tall slipper plant, which is a unique and eye catching plant native to Mexico and Central America. The scientific name comes from the Greek words 'pedil' meaning 'shoe' and 'anthos' meaning 'flower', referring to the shoe shaped flower structures and the species' epithet meaning 'bearing bracts'. The Pedilanthus bracteatus is also referred to by other common names such as lady slipper plant, Candelilla,

Introducing the Pedilanthus bracteatus, known as tall slipper plant, which is a unique and eye-catching plant native to Mexico and Central America. The scientific name comes from the Greek words 'pedil' meaning 'shoe' and 'anthos' meaning 'flower', referring to the shoe-shaped flower structures and the species' epithet meaning 'bearing bracts'.  

The Pedilanthus bracteatus is also referred to by other common names such as lady slipper plant, Candelilla, Slipper flower, slipper spurge, and Zigzag Plant due to the shape of its flowers and the zigzag pattern of its stems. 


The Pedilanthus bracteatus, a succuent plant in the genus Euphorbia, and the name has been reclassified multiple times.

The current treatment is to include it with Euphorbia
bracteata, naming it Euphorbia bracteata until it's more widely recognized.

It does not have thorns and can be used as a
poolside plant.

The upright slipper succulent plant can grow up to 6 feet tall and has narrow cylindrical light green stems and ovate leaves.

It has a thick mid-vein near branch tips and sparsely hairy vegetative parts, with a prominent mid-vein on the lower surface of the woody root crown. The stems of the slipper plant are thick, and leafless before flowering, and have a zigzag or accordion-like growth pattern, adding to its visual appeal. 

The Pedilanthus bracteatus blooms during the late spring to early fall with small, tubular slipper flowers that are typically red or orange in color. The curiously shaped red cyathia (flower structures with separate male and female parts) are enclosed in rounded reddish-pink bracts near the branch tips. These flowers have a unique shape that resembles a slipper or shoe, hence the plant's common name slipper plant. The flowers are arranged in clusters at the ends of the stems, creating a beautiful display when they bloom. 

In terms of propagation, the tall slipper plant can be propagated through stem cuttings. Simply take a healthy stem cutting from longer stems, allow it to dry for a few days to form a callus, and then plant it in well-draining soil. With proper care and conditions, the cutting will develop new growth.  

Watering Needs 

When it comes to watering the Pedilanthus bracteatus, it's important to strike a balance. This plant prefers a moderate watering routine. You don't want to overwater it, as it is susceptible to root rot, but you also don't want to let it dry out completely. 

A good rule of thumb is to water the slipper plant when the top inch or so of the soil feels dry to the touch. This ensures that the roots have enough moisture without sitting in wet soil for too long. In the spring and summer, during the growing season, you may need to water it more frequently. In the cooler months, you can reduce the frequency of watering. 

Remember, it's always better to underwater than overwater the slipper plant. If in doubt, it's safer to wait a bit longer between waterings than to risk causing root rot. 

Pro Tip

Instead of using regular tap water that has chlorine, you can try using filtered or distilled water. This can help prevent the buildup of minerals in the soil, which can sometimes affect the plant's health. It's like giving your slipper plant a refreshing treatment. Just make sure the water is at room temperature before you give it a drink

Light Requirements 

When growing indoors, this tall slipper plant Pedilanthus bracteatus generally prefers bright, indirect light. Find a spot near a window where it can receive plenty of filtered sunlight throughout the day. Avoid placing it in direct sunlight, as this can scorch its leaves. If you notice the plant leaning towards the light source, rotate it occasionally to promote even growth. 

For outdoor cultivation, your Pedilanthus bracteatus can thrive in partial shade to full sun for at least 4-6 hours a day, depending on your climate. In areas with hot summers, providing some afternoon shade can help protect the plant from intense sunlight. Just make sure it still receives a few hours of direct sunlight each day to support healthy growth and flowering. 

Remember that each environment is unique, so it's important to observe your tall slipper plant and adjust its placement accordingly. If you notice the leaves turning pale or yellow, they might be getting too much direct sunlight. On the other hand, if the plant becomes leggy or doesn't produce flowers, it might need more light. 

Optimal Soil & Fertilizer Needs 

The Pedilanthus bracteatus favors very airy, sandy soil that drains well. Planting them in ordinary soil will result in compacted roots, stunted growth, and most likely root rot. Instead, make or buy a well-draining potting mix, or ideally use our specialized potting mix, opens in a new tabGo to soil cactus mix blend 1 gal 4 qt cacti succulent dirt compost growing media that contains 5 natural substrates and mycorrhizae to promote the development of a strong root system that helps your lady slipper succulent to thrive. 

As for fertilizer, the slipper plant doesn't require a lot of feeding. Once a year in the spring, during the active growing season, you can use a balanced (5-10-5), water-soluble NPK fertilizer diluted to half strength. During the cooler months, when the plant is in its dormant phase, you can reduce or even stop fertilizing altogether. It's important not to over-fertilize, as it can lead to salt buildup in the soil, which can harm the plant. 

Remember to always follow the instructions on the fertilizer packaging and adjust the frequency and strength based on the specific needs of your slipper plant. It's also a good idea to water the plant before applying fertilizer to avoid any potential root burn. 

Hardiness Zones & More 

When you are growing your Pedilanthus bracteatus indoors, it can thrive in average room temperatures between 60°F to 75°F. It can tolerate slightly cooler temperatures, but it's best to avoid extreme cold drafts or sudden temperature fluctuations. As for humidity, the slipper plant can handle average indoor humidity levels, but it appreciates a slightly higher humidity. You can increase humidity by placing a tray of water near the plant or using a humidifier. 

For outdoor cultivation, it is typically hardy in USDA hardiness zones 9 to 11. These zones generally have mild to warm climates with minimal frost or freezing temperatures. In colder regions, it's best to grow the slipper plant as a potted plant that can be brought indoors during the winter months. If you live in a drier climate, you can mist the plant occasionally or place it in a location with higher humidity, such as near a water feature or in a greenhouse. 

Final Thoughts 

Overall, the tall slipper plant (Pedilanthus bracteatus) is a fascinating and visually appealing succulent. It's loved for its slipper-shaped flowers, the plant reaches about 6 feet tall and 3 ft wide. With its thick, succulent stems and beautiful red or orange tubular flowers, it adds a touch of visual appeal to any space. Taking care of the slipper plant is relatively easy, as it prefers well-draining soil, moderate sunlight, and infrequent watering. Whether grown indoors or outdoors, this plant is sure to add a touch of beauty and intrigue to any space. 

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Lana
Bozeman, US
★★★★★ 5
Good
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Reviewed in the United States on January 22, 2026
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dra
Houston, US
★★★★★ 5
Fractured pop art masterpiece
Walker (Lee Marvin) and Mal Reese (John Vernon) stage a robbery, stealing a bag of cash from some crooks conducting a delivery by helicopter in deserted Alcatraz. Reese double crosses Walker and leaves him for dead, taking off with the cash and Walker's wife. Walker survives, escapes from the island, and comes after Reese, and all the rest of his criminal organisation, with the mantra, "I want my $93,000." On this third or fourth viewing, I was struck less by what an exemplary action film this is (Marvin, the hardest man in the history of the movies, was at least as mean and relentless in The Killers), and more by how deeply artiness is infused into its structure and design. The recurrent flashing back and forward in time, especially at the start between the planning - not in the traditional meticulous heist film set up, just a series of fractured, barely linked brief meetings and conversations - and the robbery, but also Walker's thoughts returning to his betrayal, feed the predominant critical interpretation that Walker was fatally wounded on Alcatraz, and the whole film is his trying to process this and his fantasy of revenge. Boorman addresses this directly in the commentary, to the extent that he refuses to commit and says it's intended to be ambiguous. I'm now firmly in the dying-flashback camp, because of Walker's almost magical powers. (On reflection, it's like the question of whether Deckard is a replicant - you can enjoy debating it and looking for clues, but in the end the answer is yes.) He appears in new scenes and locations with no evidence of having travelled, and generally in a spiffy new outfit (more of this later) despite carrying nothing but his revolver, and, particularly in the central sequence, he evades being apprehended either by coincidence (the lift he's in opens and closes while the baddies waiting for the same lift are distracted by a commotion) or by the sheer application of cool (waiting immobile but scarcely invisible in an underground car park while his pursuer is gunned down by police). He also has an advisor/mentor, played by Keenan Wynn, who pops up in scenes like a cartoon character (he looks like a sort of dome shaped, bristle headed man in a suit who might appear in Ren and Stimpy) and gives Walker his next mission, while the two of them assiduously avoid eye contact as if one or both aren't really there. From Walker's re-emergence in the first of a series of natty suits, Point Blank is constructed as a series of set pieces. The first is the oddest, continuing the flashbacks and playing with chronology. Walker is seen striding intently down a corridor, and we hear the sound of his footsteps over a series of scenes of his meeting his wife, and the two of them sharing innocent good times with Reese. He confronts his wife, fires six shots into her bed before realising Reese isn't there. A scene later, she's dead after an apparent overdose. A scene after that, the body is gone, the apartment is bare, and Walker has boarded himself inside. Did Walker even see his wife? Had she died already? A messenger arrives from whom Walker extracts a name, and he's off chasing the next link. Walker meets care dealer Big John, whose yard has enormous signs in a jazzy '50s font. He asks for a test drive, buckles his seatbelt, and smashes the car between pillars (c.f. The Driver) until John spills the next name. The most self-consciously art-directed scene follows, in which Walker visits a nightclub which features both a bikini-clad go-go dancer and a trio playing something between jazz and James Brown. Tipped off by a flirtatious waitress that he's being followed, he ducks behind the stage, and fights two baddies while giant faces are projected on a huge screen behind him. In a moment that suggests Tarantino watched this while writing Inglourious Basterds, Walker pulls down a rack of celluloid canisters to trap one pursuer, and then returns things to some kind of action movie orthodoxy by subduing the other one with a haymaker to the groin. In the centrepiece, Walker meets his sister-in-law Chris (Angie Dickinson). Grief and his mission of revenge don't mean he misses the chance to share her bed, and emerge, manhood serenely unthreatened, in her borrowed yellow shortie robe. The colour scheme gets turned up to 11 at this stage, with Walker in a mustard shirt-sports jacket combo (his outfits get truly creative whenever he's bedded Angie - later, he sports a shirt somewhere between salmon and ruby grapefruit - which I guess is the wardrobe equivalent of Joseph Gordon Levitt's post-coital dance routine in (500) Days of Summer), Angie in a rockin' yellow shift dress and matching '60s mid-length coat (let down soon after by wearing something striped like a bee), and Reese in a light tan, crushed velour t-shirt that might be the least flattering male garment in cinema until Borat's mankini. Walker even finds a sightseeing telescope painted lemon yellow, which he casually dislocates from its moorings to scope out Reese's penthouse lair. Once Reese is dealt with, the movie shifts into an early example of crime-as-big-business. Reese's boss is Carter, whose sleek Mad Men-style office and threads are matched by his resemblance to that series' Ted. According to IMDb, Lloyd Bochner, who plays Carter, was doing voice-over work from age eleven, and between him, Vernon's baritone (you know how it sounds - like Dean Wormer: "Fat, drunk and stupid is no way to go through life, son."), and Marvin's basso profundo, there's a meeting of male voices unmatched until, say, Brideshead Revisited. Around this point the architecture of LA attracts more and more focus, both modernist glass towers and the concrete culvert of the LA River, where a sniper lurks who might have inspired the climactic shooter in Get Carter. The commentary is conducted as a dialogue between Boorman and Soderbergh, who, if you've seen this, early Nic Roeg (Performance and Don't Look Now), and were already acquainted with the colour yellow, seems less original than he otherwise might. He has the decency to open by talking about how many times he's stolen from Point Blank. He's not the only one though. Point Blank deconstructs and toys with the action film as knowingly as anything in the 45+ years since, up to and including Archer and the entire oeuvre of Shane Black. Just when it's in danger of becoming too clever to be satisfying as a genre piece, it gets your attention with a pistol whipping, a punch to the groin, or the rarely-shown actual end result of the villain-takes-a-long-fall thing. And of course there's Marvin, who, whether dressed like a dandy, wearing a robe, or looking baffled when the next corporate criminal explains that they just don't have $93,000 to hand over, can't be beat. Seriously, you're not obliged to love it, but you have to see it at least once.
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Reviewed in the United States on May 3, 2014
J
Verified Purchase
J. H. Haley
San Leandro, US
★★★★★ 4
Lee Marvin's best
Finally it's in dvd. Been looking for it for years. Point Blank is Lee Marvin's best movie, the best character for him, and has his best tag line. I'll leave that for you to find. (It has to with seat belts.) The movie is aptly named. The plot is steam-roller direct, but the director uses some arty time-lapse devices that either distract by conflicting with the directness of the character and the plot, or enhance by providing depth and interest, I can't decide. But they do jarr a little and seem dated. I suppose I do like the uniqueness they add. It's a really good Lee Marvin movie, and Angie Dickinson to boot. Who remembers her answer when Johnny Carson asked her whether she dressed to please herself or others? Memorable.
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Reviewed in the United States on September 25, 2007
M
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mojo_navigator
Omaha, US
★★★★★ 5
Excellent Blu-Ray Transfer - Big Improvement to the DVD
I've been a big fan of this movie for many years, long before the advent of DVD let alone Blu-Ray. I used to go and see it at the repertory cinema often - the first time, I was stunned by the quasi-hallucinatory cinematography of it. A totally unique film that's never been replicated before or since (although The Limey was a good attempt) Frankly the story is incidental and not worth summarising or even paying much attention to. The cinematic style of it is what makes it so riveting both then and now - an excellent psychedelic time-capsule of late `60s LA punctuated by stunning performances from the likes of Marvin, Dickinson and others. The DVD was a huge let-down when released. Despite the accolades that it had at the time, it had a "watery" non-filmic quality which made it dull and tiresome to watch even once. Without capturing the garish color and mind-bending trippiness of the film, you were reduced to following the plot which, like I said, is the least interesting aspect of it. The Blu-Ray is MILES superior to the DVD. The integrity of every component in this movie that I've discussed above is perfectly captured; the emotional power of it is all there in bucketloads. The colors are strong and vivid and in true Blu-ray style you notice subtleties that you hadn't noticed before (e.g. the green chairs in the corporate offices, Angie Dickinson's expression after the "what's my last name" exchange). The overall quality is very filmic (no DNR etc) and good grain where appropriate. It looks like a strong 35 mm print that has been run a few times but has plenty of life left. So no Criterion day-it-was-released look but more than satisfactory. Ideally, I would like Criterion to get hold of this as I think they would clearly be able to make an improvement but this is a minor quibble. For fans of `60s cinema and experimental film-making, this Blu-Ray edition will thoroughly satisfy. I no longer feel the need to see this in a movie house anymore unless there's a full restoration of the original 35mm print (which does happen from time to time)
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Reviewed in the United States on September 26, 2014
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Verified Purchase
KEITH
Boise, US
★★★★★ 5
Displeasure And Distance
The movie 'Point Blank' is like staring at a visual of Alcatraz prison from the opposite shore. Meaning accumulates over landmarks when we are suspicious about the details. On such a sound the channel of moving water has a stationary dock. A metal walkway connector bridge glows in unnatural radiances; the sun seems set on it, at dusk. These sea shore implements, at Alcatraz or at another bay denote civility and schedules of operation. When money and it's acquisition exist in our brains as enticements the places become spectrums with loose enthusiasms and burnished red-glows. Walker(Lee Marvin) the anti-hero of the movie 'Point Blank' is a tall, laconic, dark-suited figure. Walker's parted white hair gets swept up in the wind, unstraightened, but his bushy eyebrows are solid supports of displeasure and distance. 'Point Blank' directed by John Boorman is a 1967 classic crime film and is the story of a solo struggle-Walker's-to reconnect and recover the money that was stolen from him by his ex-partner Mal Reese(John Vernon). Walker importunes abandoned places, like an Alcatraz prison cell with questions: "How did it happen?" He is ruminating over incidents that are seen in flashback entries, but these brief remonstrance are also plot points on a scheme of surreal adventuring. Lynne(Sharon Acker), Walker's wife, has reproachments about herself, her 'past', but the enviable story is told. Lynne's monotonous sentiments recall a walk on the pier in the rain, with herself and Walker in mild drunkeness. Lynne's voice is synthesized to a soft, dreamy intercession; another vision from Walker's life, also an evocative impression of a stoic wanderer's accentuated provocateur encounters. In his film direction Boorman takes the novel "The Hunter" written by Donald Westlake and gives weight to a story about the cavorting of a slick, popular, caper anti-hero named Parker (From "The Hunter" , also other serial books written by Hunter under pseudonyms like Richard Stark). This story is recreated by Boorman for Parker of the novel and his hyperbolic lurid situations. 'Point Blank' invests visuals with sensual revelations of mystery. The breaths of relaxed reflection give toxicity to moods and the imagination has righteous experience of titillation. The viewer is invited to understand the whisperings of breezes brushing against one another at random convexes-these are soft exposing indescrepancies. At a reunion, another recounting of Walker being hailed over by Mal Reese is one twist. At another rally, in a room in San Francisco, that is similar, Walker warns his target bluntly: "If you don't, I'll kill you." There is an abrupt appearance, also in a semi-populated venue, of assistance made towards Walker. This inviting frenemy says: "If you're looking for Carter, I may be able to help you." This is Yost played by Keenan Wyn. The themes of thrifty fantasy contrive to bounce off Walker. In sunlit rooms and concrete runs ambush attacks set by Walker realize glib confrontations. One such scene involves Brewster(Carroll O'Connor) in an amorous exchange with Walker that suggests that the veritable energies of excitement between Walker and Brewster were procured and transcribed for 'Point Blank' from other products of fictitious dealings. 'Point Blank' co-stars Angie Dickinson as Chris and Lloyd Bochner as Frederick Carter.
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Reviewed in the United States on July 17, 2025

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