Amy Greene is one of many luminaries interviewed by authors Norma Stevens and Steven M.L. Aronson for Avedon: Something Personal, in which she reveals the ties between Milton and Avedon, and later, Marilyn.
“One night in 1950, the photographer Milton Greene was having one of his Friday night open-houses in his penthouse studio, in the old Grand Central Palace building on Lexington Avenue. The room was packed with art directors, admen, models, photographers, actors, and dancers. Dick [Avedon] introduced himself to a fragile-looking blonde with almond-shaped eyes who was standing alone against the wall of the loggia – a wallflower. He broke the ice with, ‘How do you know Milton?’ She said, ‘I was married to him,’ and she filled Dick in: They were high-school sweethearts who had tied the knot in 1942 when she, Evelyn Franklin, was eighteen.
Dick said he was instantly taken by Evie’s feyness and elusiveness … He invited her to dinner that night at the Oyster Bar at Grand Central Terminal. From there the relationship took off like a choo-choo train, and the couple got hitched at the end of January 1951.
Milton Greene had meanwhile taken up with a cute Cuban-born model whom Dick had ‘discovered’, Edilia Franco (Conover, the modeling agency he sent her to, changed her first name to Amy and her last name to – in a nod to Dick – Richards.) In the spring of 1952, the year before he married Amy, Milton invited Dick and Evie to Sunday lunch in the country. ‘I wasn’t feeling so hot,’ Amy recalls. ‘I told Milton I wasn’t up to coming down. ‘Listen,’ he said, ‘I went through this shit for seven years with Evelyn, and I’m not going to put up with it from you. So get the hell up, put something decent on, and make an effort!’ He told me that one of the reasons he divorced Evelyn was she would stay in bed for days on end.
‘When Dick was in Hollywood for three months in 1956 consulting with Paramount on Funny Face, Milton was there producing Bus Stop with Marilyn, and Evelyn and I met for lunch,’ Amy recalls. ‘She and Dick were renting Marilyn and Joe DiMaggio’s old ‘honeymoon house’ on North Palm Drive in Beverly Hills, and she complained that the tour buses would drive by several times a day and the guide would make a big thing over the megaphone about the master bedroom – she said it was sexually inhibiting. The minute Evie discovered that I detested Milton’s mother as much as she did, she started giggling, and we became sort of friends. I remember her grousing that all Dick ever did was work. So I guess there wasn’t much reason for her to get out of bed.’
Five years into his marriage to Evie, a movie inspired by Dick’s [first] marriage … lit up screens across the country. ‘Funny Face, by the way, wasn’t really about me. They just used my early fashion escapades as a pretext to make a glamorous musical extravaganza …’ (Avedon)
Amazingly, Dick’s boyhood idol, Fred Astaire, now an old boy of 57, played the 25 year-old lead, named Dick; Audrey Hepburn played Doe, renamed Jo … The day Fred Astaire made his leap into death, some thirty years after Funny Face, Dick appeared in the doorway to [Norma Stevens’] office with tears running down his cheeks. ‘I didn’t cry when Marilyn died, I didn’t cry when [Alexey] Brodovitch (Avedon’s art director at Harper’s Bazaar) died, he told [Stevens.}”