SKU: 48938468540
lisa cane dracaena

lisa cane dracaena Buy Large Lisa Cane Online | Large Indoor Plant

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Description

lisa cane dracaena Buy Large Lisa Cane Online | Large Indoor PlantDescription The Lisa Cane brings calm, steady beauty into your home with her glossy dark green leaves and wonderfully forgiving nature. Shes won the hearts of plant parents everywhere with her ability to thrive even when life gets busy. Native to southeast Africa, your Lisa Cane plant will grow into a beautiful 6 8 feet (1. 8 2. 4 meters) tall companion over the years, adding that perfect touch of greenery without demanding constant attention. Our

Description

The Lisa Cane brings calm, steady beauty into your home with her glossy dark green leaves and wonderfully forgiving nature. She’s won the hearts of plant parents everywhere with her ability to thrive even when life gets busy.

Native to southeast Africa, your Lisa Cane plant will grow into a beautiful 6-8 feet (1.8-2.4 meters) tall companion over the years, adding that perfect touch of greenery without demanding constant attention. Our customers tell us their Lisa Cane has become such a reliable presence in their homes, quietly growing and bringing joy for decades to come.


Care

How do you take care of a Lisa Cane plant?

Lisa Cane care is wonderfully simple and forgiving - place your plant in bright indirect light, water when the soil feels dry, and give gentle monthly feeding during the growing season. The best thing about this plant is understanding it is.

Dracaena Lisa care follows the same gentle approach as other low-maintenance houseplants. It’s perfect for both beginners and experienced plant parents who appreciate reliable, beautiful results without stress.


How often do you water a Lisa Cane plant?

Water your Lisa Cane plant every 10-14 days when the top 2-3 inches of soil feel completely dry to touch. This lovely plant prefers staying slightly dry rather than soggy, making it wonderfully forgiving if you sometimes forget watering.


Where is the best place to put a Dracaena Lisa Cane indoors?

The best home for your Dracaena Lisa Cane is near an east or west-facing window where bright, filtered light pours in. Don't worry if you have lower light conditions - this adaptable plant handles them beautifully. Just avoid direct sunlight.


Is a Lisa Cane high maintenance?

The Lisa Cane tree is one of the most low-maintenance companions you could ask for, truly forgiving of occasional neglect and busy schedules. We're always amazed by how this reliable plant continues to thrive and bring beauty to homes.


Do Lisa Canes like to be misted?

Lisa Canes absolutely appreciate regular misting, especially during dry winter months or in air-conditioned spaces where humidity tends to drop. This gentle care keeps those beautiful glossy leaves looking healthy and vibrant, which we know you'll love seeing every day.


Do Lisa Canes need full sun?

Lisa Canes don't need full sun at all - in fact, direct sunlight can actually harm their beautiful dark green foliage. They're much happier in medium to bright indirect light and will even tolerate lower light conditions with grace.


What sort of fertilizer does Lisa Cane need?

Your Lisa Cane thrives with gentle liquid fertilizer applied once or twice monthly during spring and summer when actively growing. You can skip feeding entirely during fall and winter, as this is when this wise plant rests.


Pet-friendly?

Like all Dracaena varieties, the Lisa Cane contains compounds that aren't safe if your furry friends decide to take a nibble. We recommend keeping this beautiful plant somewhere your pets can admire it safely from a distance.


Is the Lisa Cane plant poisonous to cats?

The Lisa Cane plant is toxic to cats and can cause vomiting, weakness, and digestive upset. Place your new plant in a spot where your feline friend can appreciate its beauty without being tempted to treat it as a snack.


Is the Lisa Cane plant toxic to dogs?

The Lisa Cane plant is toxic to dogs and can cause vomiting, diarrhea, and loss of appetite. Position this beautiful plant where your four-legged family member can enjoy looking at it while staying safely away from those tempting leaves.


Factoids

Is Lisa Cane a Dracaena?

Lisa Cane is a Dracaena - specifically, it's a cultivar of Dracaena deremensis called 'Lisa,' beloved for its compact, upright growth habit. The "cane" part of the name refers to those tall, sturdy stems that give it such presence.


How big does Lisa Cane get?

Your Lisa Cane will typically reach 5-8 feet tall indoors, about 2.5 feet across at the top. The moderate growth means you can enjoy watching it develop gradually over the years without worrying about it outgrowing your space too quickly.


Where did Lisa Cane get its name from?

The Lisa Cane is the 'Lisa' cultivar of the Dracaena family, with "cane" referring to those beautiful upright stems. We don't know who Lisa was, but this plant has earned its place as a member of countless plant families.


Buy a Lisa Cane

We'd love to help you welcome this dependable beauty into your home, where it can become a cherished part of your household for years to come. The Dracaena Lisa benefits include its forgiving nature, beautiful presence, and that wonderful ability to thrive alongside your busy life.

Our live video shopping calls let you meet your exact Lisa Cane before it arrives at your door, so you can choose the perfect specimen that speaks to you.

Shipping Notes
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Amanda Becker
Carnegie, US
★★★★★ 5
Best wrap mask!
Color: Lifting (Jericho Rose)
Just the best wrap mask!! A lot of peptides that make my skin soft and moisturizing. Very effective in only 20min use!
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Reviewed in the United States on May 20, 2026
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Amanda Boyd
Boise, US
★★★★★ 5
Great face mask
Color: Lifting (Jericho Rose)
Love this mask. I have really sensitive skin and this mask doesn't irritate my skin at all. It absorbs nicely and leaves my skin feeling moisturized and glowing. Great value for the price!
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Reviewed in the United States on April 21, 2026
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Tammy Marshall
Port Orchard, US
★★★★★ 3
Full Moisturization of the face is lacking
Color: Lifting (Jericho Rose)
I would give it a 5 based on the appearance after the mask is removed your skin is glassy but the moisture level is lacking. It leaves behind an oily residue and my face didn’t feel hydrated. The search continues.
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Reviewed in the United States on March 25, 2026
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John P. Jones III
Whiting, US
★★★★★ 5
“The fragments of a life”…
A formidable movie, in the stricter sense of the word. In a looser sense, it has helped shape the way that I’ve seen the world, ‘lo these past six decades. I saw this movie when it first came out, in 1963, at one of my favorite art theaters in Pittsburgh. Like most of us at the time, we’d only viewed rather straightforward movies of “good and evil,” Westerners, and the like. Predictable endings. The director of “8 ½,” Federico Fellini, offered something radically different, a foreshadowing of the stream-of-consciousness technique in literature, how the fragments of one’s life get all jumbled up in the brain. And he provided some takeaways that have long been with me. I was 16 at the time and took a date who was 15. In re-watching it now, if I thought it somewhat baffling at 16, I wonder what my date thought about the portrayal of the women in the movie, who are “fragments” in the life of the movie director, Guido Anselmi, excellently played by Marcello Mastroianni. There is his wife, Luisa, wonderfully played by Anouk Aimée, who was the motive force behind the re-watching of it now. There is the “virginal” Claudia Cardinale, usually in white (I had not realized that she was originally Tunisian). Sandra Milo plays Guido’s flighty bimbo of a mistress. And so many others: The airline stewardess; the caring mom who wraps the infant Guido in a blanket; the first stripper; the insightful and nagging friend of his wife… “Upstairs when you are 40.” That was one of the big takeaways. Anselmi is having this male fantasy about his “harem,” all those fragmented women who are there to serve him and do so in complete harmony when he realizes that the “stripper” is now 40 and must go upstairs, the metaphor for being placed on the “discard pile” for being too old. He gets out his bull whip even, to drive her up the stairs. Even at 16, when 40 is more than twice your life away, it did seem a bit harsh, particularly when the same rule does not apply to the guy with the bull whip. It was also my first viewing of the prototype of those pompous pedantic critics of movies or literature who toss around expressions like “impoverished poetic imagination,” “overabundant symbols,” and, of course, “self-indulgent.” I was in parochial high school at the time, so the scenes in which the priests were chasing down the young student Guido in order to shame and humiliate him because he found sexual imagery to be of interest, imagine that, strongly resonated. It was also the era that the Catholic Church published “The Index of Forbidden Books,” (which now seems to have been taken over by the woke crowd of today), and thus the scene in which Anselmi has to pay homage to the Cardinal also resonated. Anouk Aimée is absolutely mesmerizing. She has been a “fragment” of my own life, ever since I viewed “A Man and a Woman” in the ’60’s. Again, she played opposite the equally formidable Jean-Louis Trintignant, of “Z,” “Three Colors, Red,” and so much else, fame. Far more relevantly, the two of them recently played in “The Best Years of Our Lives,” again directed by Claude Lelouch. Aimée is now a young 90. In her role as Anselmi’s wife, Luisa, she wore those glasses that connotated a greater thoughtfulness than him. I searched that ever-so-youthful face watching for the subtle expressions of later movies. It struck to the core. Luisa is utterly fed up with Guido’s philandering and constant lies. And Guido is suffering from “director’s block” in trying to finish his movie, with what sort of message? Luisa fires off THE classic line that I have long remembered: “But what can you say to strangers when you can’t tell the truth to the one closest to you…”. The only problem is that I’ve felt that line was said in Ingmar Bergman’s “Scenes from a Marriage.” And maybe that line was ALSO said in Bergman’s movie, which means one more movie I need to watch to find out. As I said earlier, things can tend to get jumbled up in the brain, even more so as one ages. Fellini would understand, maybe Aimée would also. 5-stars, plus for Fellini’s classic, formidable film.
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Reviewed in the United States on March 14, 2023
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Stephen McLeod
Los Angeles, US
★★★★★ 5
One of the greatest in SPECTACULAR DVD package
This new Criterion Collection edition of *8 1/2* is one of the best DVD "special edition" sets I've come across. The Movie: Fellini's breakthrough film is a movie about itself. It is archetypal in the Fellini canon because it both settles old scores and announces a new cinema. The film's hero is an Italian filmaker (Mastroianni as "Guido" a quasi-alter ego for the director) who has just had his first major hit (=La Dolce Vita). He is not resting on his laurels, however. He is confronted with the necessity of the next movie. This necessity is both personal to the director and apparently contractual: the producer is forever hovering... To Guido, it is an inner necessity, an unrest, a creative suffocation, objectified in the opening sequence of the movie where Guido is seen/not seen by the camera, trapped inside a tiny car that is itself trapped in a traffic jam that stretches endlessly beyond available light as the car fills with toxic gas. We see the as yet unidentified hero in silhouette from behind. We see his hands and feet from outside the car, through the window as he desparately tries to escape. Then, he mysteriously escapes through the car's roof like a new bird escaping its shell and is carried off into the clouds, etc. The trouble is, this is a wish fulfillment dream. In "real" life, Guido is about to make a movie, and he has no idea what it's going to be about, or what to do with all the actors and extras, and the giant launching pad for some kind of space-ship that is the only thing even close to a concrete idea for the projected picture. The film is not, however, a perfect autobiographical fit. For one thing, Fellini gets to finish his movie and Guido, evidently, does not. But, that said, the movie is a virtual mirror of itself, which was a very hard thing to pull off in 1962, before the concept of "virtual" was annexed by the codifiers of computer jargon, and *8 1/2* is nothing if not a virtuoso performance. Fellini's breakthrough is the film we watch. But in the film, the hero finds the resolution to his anguish, not in finding the project - that is, in making what would have been the film-about-itself within the film-about-itself within the film-about-itself that we are, finally, watching - but in letting go of the project, in surrendering to the impossibility of finding it or making it. Precisely *on the other side of his own fantasy-suicide*, at the moment when he apparently gives in to despair, he discovers the circle of life and becomes able to join into the procession of lives into which his own life is finally intertwined. So, this is an essential film. And it is a film so rich in texture that a person could watch the movie a hundred times and find new things to wonder at, and discover new connections between the One and the Many - Fellini's personal/existential problem. The DVD: First disc contains a sparkling transfer of the movie that restores a luster to the angular lights and shadows in Fellini's final black & white movie. Audio commentary by a couple of scholars and Fellini's former close accomplice Gideon Bachman. Second disc contains Fellini's famous "Director's Notebook" of 1968(-9), an hour-long movie that was originally made for television, as well as another documentary about composer Nino Rota, and various interviews, including one with the ever-fiesty Lina Wertmueller who was Fellini's Asst. Director on *8 1/2*. The package also comes with a really interesting little booklet with lots of information and a thoughtful mini-essay. Overall a great package that I'll not regret buying.
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Reviewed in the United States on January 5, 2002

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