SKU: 22157784118
monstera burle marx flame mature

monstera burle marx flame mature Monstera Burle Marx's Flame

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Description

monstera burle marx flame mature Monstera Burle Marx's FlameMonstera 'Burle Marx's Flame' Monstera 'Burle Marx's Flame' is a slow developing climbing aroid with firm green leaves that become more divided as the plant matures. Young plants usually start with narrow, lance shaped blades, while older supported vines can produce broader leaves with deep, flame like cuts along the margins. Juvenile plants begin with narrow blades; on an attached vertical stem, later leaves can broaden and develop deeper marginal

Monstera 'Burle Marx's Flame'

Monstera 'Burle Marx's Flame' is a slow-developing climbing aroid with firm green leaves that become more divided as the plant matures. Young plants usually start with narrow, lance-shaped blades, while older supported vines can produce broader leaves with deep, flame-like cuts along the margins.

Juvenile plants begin with narrow blades; on an attached vertical stem, later leaves can broaden and develop deeper marginal cuts.

Leaf transformation in Monstera 'Burle Marx's Flame'

  • Growth habit: Climbing aroid with aerial roots that attach best to a firm vertical support.
  • Juvenile leaves: Narrow green blades appear first, often with little or no division.
  • Mature foliage: Older leaves can become broader, firmer, and deeply cut along the edges.
  • Development pace: Leaves usually become broader and more divided only after the vine has climbed for a while.

From narrow blades to flame-like mature leaves

Monstera 'Burle Marx's Flame' is recognised by its green climbing stem, narrow juvenile foliage, and strongly divided mature leaves. The adult shape appears on older attached stems rather than on the first juvenile leaves.

Indoors, the plant grows from a vine rather than a self-supporting crown. Early tying keeps young aerial roots close to the support before they stiffen. Once the vine is attached, later leaves can increase in size and division.

Indoor care for a slow-maturing Monstera

  • Support: Add a plank, moss pole, or sturdy totem early so aerial roots can anchor along the stem.
  • Light: Give bright filtered light for shorter internodes and regular leaf production; protect leaves from hot direct sun.
  • Watering: Water thoroughly after the upper part of the substrate has dried, then let excess water drain away.
  • Substrate: Use a coarse aroid mix with bark, coco chunks, mineral drainage, and open space around the roots.
  • Temperature: Keep the plant warm, ideally 18–28 °C, and avoid cold, wet substrate.
  • Humidity: Average indoor humidity can be tolerated, while moderate to high humidity helps new leaves expand cleanly.
  • Feeding: Use a weak balanced feed once new leaves begin expanding; avoid heavy doses on a slow vine with a recently disturbed root ball.
  • Repotting: Shift into a slightly wider pot only after the root ball holds together, keeping the stem tied so young aerial roots are not pulled loose.

Slow growth signals to check

  • Small plain leaves: Check whether the vine is climbing securely; unsupported stems often stay juvenile for longer.
  • Long internodes: Increase filtered light and secure the stem more closely to its support.
  • Yellow lower leaves: Inspect root moisture, drainage, and pot size; dense wet mix can stress the roots.
  • Dry brown edges: Review watering consistency, warm airflow, and root condition before changing several care factors at once.

Handling and ingestion safety

Monstera 'Burle Marx's Flame' contains irritating calcium oxalate crystals. Keep it away from pets and small children that may chew the leaves or stems, and wash hands after handling damaged plant tissue.

Burle Marx and the Flame name

Monstera belongs to the Araceae family, a group of mostly tropical aroids. The genus name is associated with unusual mature leaf shapes in the group. The mature leaf outline is long, narrow and deeply cut, with edges that resemble rising flames.

On a firm vertical route, Monstera 'Burle Marx's Flame' can develop from narrow juvenile blades into deeply cut adult foliage.

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SKU: 22157784118

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4.5 ★★★★★
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Lori T. Sly
Pawtucket, US
★★★★★ 4
Helpful, but not as good as "Story" by same author, and it disses certain genres
Format: Hardcover
This book contains a lot of helpful information on how to write dialogue. It's dense with dialogue analysis and insights, tough to take in by just reading it through once. But it is helpful. McKee covers the three dialogue tiers (said, unsaid, unsayable) as well as how dialogue ties into story turning points and scene conflict type. I still have lots of practice ahead of me to figure out how best to do this in my story. I will definitely use his advice as a guide. He understands dialogue at a much deeper level than I do. However, many of McKee's dialogue examples did not speak to me. While I liked reading the dialogue examples for Breaking Bad, 30 Rock, The Sopranos, Frasier, A Raisin in the Sun, and The Great Gatsby, and agreed they were good, I disliked the dialogue from Shakespeare, Elmore Leonard, Sideways, Fraulein Else, and Lost in Translation. McKee says fine dialogue turns the reader/audience into a mind reader; I guess I'm not interested in movies which expect me to be as much of a mind reader as those latter examples did. I totally missed the subtext of the dialogue in those until he explained it to me as an aside. And that's after I already saw most of those movies! If I have to guess what every character means with every line, that's too much work and too little entertainment for me. Maybe mystery lovers liked the dialogue in "Lost in Translation"; I'm not a mystery lover. McKee quoted one novelist as saying that the crux of good writing is to, "Make em laugh, make em cry, make em wait." Lost In Translation and its dialogue did none of that for me. The subtext was so confusing and subtle that I lost interest in the movie. I can't even remember what it was about anymore, only that it won some award and I had no clue why. McKee says that with rare exceptions, a scene should never be outwardly and entirely about what it seems to be about. Dialogue should imply, not explain, its subtext. An ever-present subtext is the guiding principle of realism. Nonrealism, on the other hand, employs on-the-nose dialogue in all its genres and subgenres: myth and fairytale, science fiction and time travel, animation, the musical, the supernatural, Theatre of the Absurd, action/adventure, farce, horror, allegory, magical realism, postmodernism, dieselpunk retrofuturism, and the like. It's a bit unclear how, if at all, anyone writing in any of these "nonreal" genres should take his dialogue advice. It seems to me that even sci fi scenes need some good dialogue with subtext to be engaging. With McKee, all the accolades go to what is implied and unsaid over what is said. I agree that subtext matters, but for me, he's out of proportion with how much it matters to most people and how hard audiences are willing to work to discover the intended subtext. Also, memorable spoken character lines can elevate movie themes and characterization like nothing else. In the end, I think this book is geared more toward writers who want other advanced writers as their audience rather than the average reader or movie watcher. And McKee admits it is definitely not geared toward sci fi, fairytales/myths, action/adventure, horror or allegory. It's almost as if he's saying those genres can't have excellent dialogue. I disagree. But it was still a helpful book to read, and one I will be thinking about and trying to more fully understand for a long time. McKee understands how character's subconscious drives can deepen what they say or avoid saying, and how dialogue interacts with many other aspects of a story to make it all work together.
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Reviewed in the United States on December 12, 2019
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Ray Pryor
Pawtucket, US
★★★★★ 5
Amazing.
Format: Kindle
Just like a good movie, the first 10 pages = mind blown. Wow, such really, really good material here. If you're new, this will help you a ton. If you're experienced, this book will help you realize WHY great dialogue is so great, enabling you to create the magic again and again. I love how McKee covers several medias ( screen, theater, novel ) but still stays true and clear on the concept. A virtual masterclass on the subject. One of the best screenwriting books out there, and Yes, it's well worth all the hype.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on April 18, 2017
K
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Kindle Customer
Dallas, US
★★★★★ 5
So to speak
Format: Kindle
Previews did not show the Table of Contents, but it is worth searching the web for. The coverage includes practical techniques as well as case studies. Notes cover titles on topics over several decades. This book has four parts about what dialogue is, how it can mended, and how it can be created and designed. Trialogue, the third thing through which a pair of characters channel conflict in conversation, is an interesting concept because it overlaps social networks or media and comms devices; it is also looked at historically. Dialogue is reportedly the quickest way to fix a narrative text since it appeals to intuition. Those levels of depth are what the book is about. They can be found in first person voice. The approach could easily fill a site on the order of tropes for favorite titles, but for deconstruction and revision, which are also relevant to works in progress. It talks about finding characters in the dark, though not necessarily from the milieu, unless it were compressed and made to transfer meaning like in poetry, but reflexive so that it is symmetrical to the characters or human nature. If there is a boundary to be found, then this method is going to hit the lines to find out what happens then. The impact on the rest of the narrative elements is discussed. This extends back through the early philosophers, through tragedy, the merging of European roots into English, and the study of personalities to contemporary customs. Voice is plot.
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Reviewed in the United States on June 12, 2017
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cf otto
Belleville, US
★★★★★ 5
ONE OF THE TWO BEST BOOKS ON SCREENWRITING
Format: Hardcover
Probably the best book on screenwriting ever (besides Egri), though there is also much here for the novelist and playwright. I am a professional TV writer, of long-standing (35 years), and I can tell you I used this book to figure out how to fix the problems of a complex pilot I'm writing; the author truly " guided me home." And lest you think I'm a McKee sycophant, I am not. I found little in STORY for me. The only thing I disagree with in DIALOGUE is that the author sells his own work short: it isn't just for those who are "lost" in their writing, like me, and the student, it's for anyone who writes fiction for a living, in any form, no matter how much experience they have. It's that good.
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Reviewed in the United States on October 14, 2016
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Seeley James
Natrona Heights, US
★★★★★ 5
McKee’s best
Format: Kindle
More relevant than STORY, more useful on a daily basis. This is the book I recommend to all beginning writers. I’ve now read it three times and will read it at least three more. I learn, relearn, and remember bits and pieces each time. It is one of three books that has made me the greatest writer of all time.* *my opinion, anyway.
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Reviewed in the United States on June 5, 2023

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