e started as journalist when he was studying medicine. Later he switched to the popular evening paper Última Hora, now disappeared, and in Caras y Caretas, he published his interviews made to people of our theater.

With his adaptation in 1927 of the foreign theater play Un Buen Muchacho, in which Ivo Pelay collaborated, he began his activity as theater playwright which resulted in the release of a large number of plays co-written with Pelay, Marcos Bronemberg, Antonio Botta, Alberto Ballestero, Antonio De Bassi, José González Castillo, etc.

He was impresario-director of the Cervantes National Theater and owner-director of the Maipo.

He stood out in the film industry in which he made his debut as director in 1935 with the movie Puerto Nuevo, which starred Pepe Arias, Sofía Bozán, Charlo, Alicia Vignoli and José Gola. He launched hits that are well remembered in our good national cinema: Maestro Levita, El Pobre Pérez, El haragán de la familia, El tercer beso, Nacha Regules, Claro de luna, Almafuerte, Apasionadamente, El canillita y la dama, Palabra de honor, Madreselva, Caminito de gloria, Dios se lo pague. Based in Spain, he went on with his work without a break. He also made movies in Mexico.

For our urban songbook he wrote the lyrics of a great number of tango pieces. Most of them received a wide public acclaim because they were written a long time ago and they are still present in the popular tango repertoires, such is the case of “Rencor” and “Cobardía” with music by Charlo; “Madreselva” with Francisco Canaro; “Fondín de Pedro Mendoza” with Raúl de los Hoyos; “Confesión” co-written with Enrique Santos Discépolo, all of them recorded by Carlos Gardel; “Juramento” (sung by Gardel on Radio Belgrano), “Yo también soñé”, “Quisiera amarte menos” (waltzes) with music by Canaro; “Quién hubiera dicho” and “Vendrás alguna vez” with music by Rodolfo Sciammarella and Luis Rubistein; “Ventanita florida” with Enrique Delfino (Delfy); “Portero suba y diga” (1926) with music composed by the actor Eduardo de Labar and of which Azucena Maizani left a magnificent rendition; the first one he wrote was “Felisa Tolosa” in collaboration with Pelay and de los Hoyos; “Alma de bandoneón” and “Desencanto” with Discépolo, etc. They were premiered at theaters or in movies. Others are: “Compañera”, “Serenata”, “Tormento”, “Envidia”, “Cómo te quiero”, “Qué le importa al mundo”, “Olvido”, “Como las flores”, “Eternamente [b]”.

In his work as journalist he got acquainted with Gardel and with him he had a close relationship because the singer used to turn to the circle that included Botta, Pelay, Cairo and other men of show business looking for news; the number of tango pieces of his that Gardel sang strengthened their friendship. Sometimes at the Conte and, on other occasions, at the El Tropezón they were seen having lunch together.

Luis César Amadori was born in Pescara (Italy) on May 28, 1902 and passed away in Buenos Aires on June 5, 1977.