Even Sidney, in his newfound stardom, discovers that there's a limit to the luster of his new life. In a pivotal moment, Sidney is filming a set piece for a new movie, but he is performing with a band comprised of artists darker skinned than he is. Under the intense studio lights, the black and white cameras cannot recognize his brown skin for what it is, and the producers are concerned that when they sell the picture to the audiences who have previously loved Sidney's work, it will look, to a layman, like a white man playing with a black band. Manny, ever the fixer, is brought in to convince Sidney to use burnt cork, most commonly used for blackface in minstrel shows, to fit in on celluloid with his co-stars.
Manny leverages the fact that if they can't complete and release the picture, none of the other musicians will be able to feed their respective families. Sidney does it, debasing himself, and when shooting is complete, he walks off of the studio lot, never to return. He makes his way back to the clubs and jazz joints of his past, where he may not be as famous, but he won't have to pervert his own art to stay a star.
