When Warner Bros. acquired the screen rights to Robert E. Sherwood's stage hit The Petrified Forest (1936), the studio initially tested Hollywood names for the role of the escaped killer Duke Mantee and favored the box‑office pull of Edward G. Robinson. Leslie Howard, who held the film rights and was cast as the star, refused to budge: he wired studio headquarters in Scotland with a blunt ultimatum — 'Att: Jack Warner Insist Bogart Play Mantee No Bogart No Deal L.H.' — forcing the studio to back down and hand Bogart his pivotal screen role. The casting change was a watershed for Bogart; The Petrified Forest translated his stage menace to film and helped break him out of the theatrical 'white‑pants' juvenile mold. The incident also illustrates the power dynamics of the period: while studios wielded immense control over contracts and careers, bankable stars and rights‑holding actors could still bend studio plans, and publicity jockeying — even an effort by Jack Warner to push Bogart toward a stage name — ran headlong into established theater reputations. Bogart's refusal to adopt a pseudonym and subsequent screen triumph in 1936 cemented a career trajectory that studios had once tried to micromanage.
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