SKU: 38845878108
ponytail palm tree large

ponytail palm tree large Ponytail Palm

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Description

ponytail palm tree large Ponytail PalmCurly Ponytail Foliage on a Swollen Trunk Ponytail Palm is one of those plants that makes people smile at first glance. A swollen, bulbous base tapers into a slender trunk, crowned with a fountain of long, ribbon like leaves that spill over the sides like a green ponytail. Despite its common name, it isnt a true palm at all, but a caudex forming succulent native to Mexico, which has evolved to store water in its thick base. The look is part desert

Curly “Ponytail” Foliage on a Swollen Trunk

Ponytail Palm is one of those plants that makes people smile at first glance. A swollen, bulbous base tapers into a slender trunk, crowned with a fountain of long, ribbon-like leaves that spill over the sides like a green ponytail. Despite its common name, it isn’t a true palm at all, but a caudex-forming succulent native to Mexico, which has evolved to store water in its thick base. The look is part desert sculpture, part whimsical houseplant, and it fits just as well on a sunny windowsill as it does styled on a plant stand.

Slow, Compact Growth, and Long-Lived

Indoors, Ponytail Palm is slow-growing, which makes it a fantastic long-term companion plant. Young plants have a single trunk and a tight tuft of foliage, while older specimens gradually thicken their base and may branch into multiple heads over time. In containers inside the home, most plants typically top out at around 3–4 feet tall, although very old specimens in large pots can reach 5–6 feet. Because it grows slowly and stays relatively narrow, it’s easy to tuck into corners, tabletops, or grouped displays without worrying that it will outgrow the space overnight.

Bright Light and Infrequent Watering is all it requires

Think of Ponytail Palm as more of a succulent than a palm when it comes to care. It thrives in bright, indirect light and happily basks in a bit of gentle direct sun, especially morning or late-afternoon rays. A bright east or south window is ideal; in lower light, it will survive, but growth slows dramatically, and the trunk may elongate rather than stay stout. Plant it in a very well-draining mix—such as cactus or succulent soil, or potting mix heavily amended with sand and perlite—so that excess water runs through quickly and never lingers around the roots.

Watering is where Ponytail Palm really earns its “set it and forget it” reputation. The caudex stores water, so you’ll want to let the soil dry out completely between waterings, then soak thoroughly and drain well. In most indoor settings, that means watering every 2–4 weeks, less in low light or winter, and a bit more in bright, warm conditions. It prefers typical household temperatures of around 65–80°F and average humidity, shrugging off dry indoor air that would bother more finicky tropicals. Overwatering is just about the only way to truly get into trouble with this plant—if the base ever feels soft or the leaves pull out easily, it’s a sign the roots have stayed wet too long.

Pet-Safe Personality Plant for Home or Office

In the “indoor landscape,” Ponytail Palm is pure personality. Use it as a quirky focal point on a plant shelf, as a sculptural accent on a low stool, or lined up in multiples for a desert-inspired vignette. It pairs beautifully with cacti, snake plants, and other drought-tolerant houseplants, adding a softer, playful texture to an otherwise spiky or architectural grouping. And because it’s considered non-toxic to cats, dogs, and even horses, you can relax a bit if curious paws can’t resist playing with those tempting, dangling leaves.

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SKU: 38845878108

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4.4 ★★★★★
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M
Verified Purchase
MB
Dallas, US
★★★★★ 5
Hydrating
New fav. My teenager loves it
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Reviewed in the United States on January 10, 2026
R
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Ruth
Whiting, US
★★★★★ 3
It’s okay
I use it for a month. I saw no difference. It does give you a glow for a few minutes and it does hydrate. No scent and it didn’t break me out.
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Reviewed in the United States on March 19, 2026
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Lana
Omaha, US
★★★★★ 5
Good
Good
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Reviewed in the United States on January 22, 2026
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dra
Dallas, 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
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Verified Purchase
J. H. Haley
Omaha, 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

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