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    Love Affair is a 1994 American romantic drama film and a remake of the 1939 film of the same name. It was directed by Glenn Gordon Caron and produced by Warren Beatty from a screenplay by Robert Towne and Beatty, based on the 1939 screenplay by Delmer Daves and Donald Ogden Stewart, based on the story by Mildred Cram and Leo McCarey. The music score was by Ennio Morricone and the cinematography by Conrad L. Hall.[3][4]
    On a flight to Sydney, sports announcer and former football star Mike Gambril meets singer Terry McKay, each of them engaged. Their plane malfunctions and is forced to make an emergency descent, during which Mike and Terry comfort each other. The plane manages an emergency landing on a remote atoll, and the passengers wait to be rescued by nearby ships.
    As Mike gets himself accustomed to the boat he selected, a Russian cruise boat, Terry arrives aboard as well as her ship was being redirected elsewhere. As the passengers get more and more drunk with the Russian crew, Mike and Terry almost have an encounter but it is curtailed by party revelers. She reconsiders and runs to her room.
    The next day, with a hangover, Terry says she doesn’t want to make a “mess” of her life with an affair and tries to push Mike off the topic. Instead, Mike invites Terry to visit his elderly aunt, Ginny on the isle of Moorea during a routine stopover. During the visit, Terry sees a different side of Mike as they have lunch with his aunt and play music together. The romantic setting kindles their romance and, instead of taking a more convenient jet back to their respective destinations, they continue their romance on the boat for a few more days.
    Finally, on the way home on the return flight to New York, they agree to reunite at the top of the Empire State Building in three months’ time to test their convictions and current relationships. Terry breaks up with her fianc Ken Allen, as does Mike with his fiance, Lynn Weaver.
    Terry finds work as a singer, mostly in advertisements. Mike, to the chagrin of his agent, is having an existential crisis about his TV career and ruminates about returning to his hobby painting. He quits his job in TV and works as the head coach at a small college. One of his primary pieces is a portrait of Terry in prayer from their idyllic day on the island, wearing his aunt’s hand-made shawl.
    Months later, on the way to the rendezvous, Terry is struck down by a car while crossing a street jaywalking. Gravely injured, she is rushed to the hospital. Mike, waiting for her at the observation deck at the top of the building, is unaware of the accident. After many hours, in the rain, he finally concedes at midnight that she has rejected him.
    Now unable to walk as a paraplegic, Terry refuses to contact Mike and let him see her in her paralyzed condition. Instead, she finds a job as a music teacher in a small elementary school. Six months after the accident, she sees Mike with his former fiance at a holiday concert featuring Ray Charles, which Terry is attending with her former boyfriend, Ken. Mike does not notice her condition because she is seated. Each can only manage a terse hello, with Mike looking irritated.
    Christmas Eve arrives and Mike makes a surprise visit, claiming to have come across her address while looking up another name in a telephone directory. Although he steers the conversation to make her explain her actions, Terry merely dodges the subject, never leaving the couch on which she rests. Mike mentions his aunt, now deceased, had left the shawl for her in her will. His aunt had taken a liking to Terry and secretly hoped the two would marry and straighten out Mike’s life. Mike mentions, that he “made a painting of you with that shawl.” Mike had left it in disgust at the hotel previously and the hotel manager had the restaurant display it.
    About to leave her life for good, Mike remarks that the painting was given to a woman recently who very much admired it. He is about to point out that the woman was in a wheelchair when he suddenly pauses, realizing that Terry isn’t moving in her couch and making no effort to get up to say goodbye. Mike walks into Terry’s bedroom, opens the door and sees his painting hanging on the wall. He now knows why she did not keep their appointment.
    In August 1993, it was reported that Warren Beatty would produce and star alongside his wife Annette Bening in Love Affair, a remake of the 1939 film Love Affair with Charles Boyer and Irene Dunne and of the 1957 film An Affair to Remember with Cary Grant and Deborah Kerr, both directed by Leo McCarey.[5] When questioned why he chose to remake Love Affair, Beatty stated:
    Love Affair was Hepburn’s first big-screen appearance in nearly 10 years[6] (although she had made several TV movies in this time) and marked her last appearance in cinema. It includes the only time that she ever said the word “fuck” on-screen. Beatty personally lobbied 86-year-old Hepburn to appear in the film. He rented a house for her in Los Angeles and had her referred to a special dermatologist, but she did not give a definitive answer until the day of filming. Luise Rainer was also considered for the role.[7]
    The remake was neither a critical nor a commercial success at the box office. It grossed $18 million domestically over a budget of $60 million[2] and holds a 28% rating on Rotten Tomatoes from 29 reviews.[8] Audiences surveyed by CinemaScore gave the film a grade “B+” on scale of A to F.[9] The film was nominated for one Razzie Award, Worst Remake or Sequel.[10]
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    Welcome to my blog! Here you will find everyday food we cook at home, usually Mediterranean recipes, Latin American recipes and sometimes a fusion between both cultures. More specifically we cook a lot of traditional Albanian & Bolivian food at home since I was born in Albania and my husband in Bolivia. Hope you love these recipes like we do:)
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    Throughout my followings of internet gurus, I have met, tried, experimented, visited, believed and argued many different points at different times. Louie Simmons was my first. I subscribed to Powerlifting USA to read his column, bought chains, bands, glute ham machines, reverse hypers and a Westside Barbell T-shirt which he gave me (the dog on the shirt was actually his dog). I spent multiple days at the old pizza shop in a strip mall on Demorest Ave in Columbus. Louie is a great coach, incredibly knowledgeable and a great person. In fact, he is such a great person that he said to me it was time to move on and learn from others because what he does, powerlifting, could only get me to a certain point. I needed new concepts that would get me closer to my goal of developing sprinters. He introduced me to John Davies, and I learned a lot. But I still needed more. I saw Bompa, Verkhoshanky, Siff, Weyand, Schroeder, Poliquin, Pfaff, Seagrave, and others speak on multiple occasions. I was one of the first in the US to have a Nemes vibrating plate sold by the Kraaijenhofs and delved into the Bosco stuff. My success was good but not where I wanted to be. Dan Fichter of wannagetfast, got us connected to DB Hammer who was selling limited consultations; we paid to have questions answered and teach us how to build programs that got great results for high school athletes. DB taught me the importance of the Bulgarian split squat and isometric strength. Thus, my love affair began.
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    Rumah tangga Suzzanna (Luna Maya) dan Satria (Herjunot Ali) awalnya bahagia. Kebahagiaan pasangan muda nan kaya ini semakin memuncak ketika buah hati yang ditunggu-tunggu selama lima tahun akhirnya akan hadir ke tengah-tengah keluarga kecil mereka. Suzzanna hamil. Betapa bahagia Satria mendengar penuturan sang istri tentang kehamilannya, ketika suatu pagi, Suzzanna memintanya pulang lebih cepat dari kantor. Suzzanna meminta Satria agar mengajaknya ke luar rumah demi mencari udara segar. Keduanya pun bersepakat ke kantor tempat Satria bekerja.
    Di kantor inilah konflik bermula. Jonal (Verdi Solaiman) dan Umar (Teuku Rifnu Wikana) sudah menunggu Satria. Setelah tiba di kantor dan meminta izin sejenak kepada Suzanna, Satria memanggil Jonal dan Umar ke ruangannya. Keduanya melapor, karyawan pabrik meminta kenaikan gaji lagi. Mendengar laporan mereka, Satria murka, karena gaji karyawan sudah dua kali dinaikkan dalam tiga bulan terakhir. Satria mengendus ini hanya akal bulus dua mandor di hadapannya.
    Kesal setelah menemui Satria, Jonal dan Umar kemudian menenggak bir bersama Dudun (Alex Abbad) dan Gino (Kiki Narendra), dua karyawan lain di pabrik tempat mereka bekerja. Merutuki nasib masing-masing, keempatnya akhirnya berembuk untuk merampok rumah Satria. Ketika Satria berangkat ke Jepang untuk sebuah tugas perusahaan dan rumah sepi karena Suzzanna sedang menonton layar tancap bersama tiga pembantunya, keempatnya pun beraksi.
    Namun aksi jahat itu tak semulus yang mereka rencanakan. Belum selesai mereka menggondol barang-barang berharga di rumah pasangan kaya itu, Suzzanna memergoki aksi mereka. Suzzanna yang pulang tanpa tiga pembantunya akhirnya mati di tangan komplotan itu. Suzzanna menjelma arwah penasaran yang terus gentayangan di alam nyata demi menuntut balas atas kematian dirinya, kematian anak yang dikandungnya, serta kehancuran rumah tangganya.
    Begitulah sutradara Anggy Umbara dan Rocky Soraya meramu Suzzanna: Bernapas dalam Kubur, film yang diproduksi oleh Soraya Intercine Films. Di awal film dijelaskan, film ini dibuat untuk mengenang Suzzanna Martha Frederika van Osch, legenda dalam film horor Indonesia yang meninggal dunia pada 15 Oktober 2008. Selain itu, tentu juga karena tren film-film reinkarnasi sukses mendulang pundi-pundi rupiah beberapa tahun terakhir. Film Warkop DKI Reborn: Jangkrik Boss! (Bagian 1, 2016), misalnya, yang berhasil meraih 6.858.616 penonton, atau 4.206.103 penonton untuk Pengabdi Setan (2017).
    Judul film ini diadaptasi dari dua film yang pernah dibintangi Suzzanna, Bernafas dalam Lumpur (1970) dan Beranak dalam Kubur (1971). Meski bukan pengulangan atau sekuel dari dua film tersebut, film ini tetap saja tidak bisa keluar dari simbol-simbol keduanya. Adegan Suzzanna memakan bunga, misalnya, atau adegan Suzzanna bermain piano.
    Dengan memakai wajah prostetik yang dibuat Tatiana Melkomova dan Peter Gorshenin dari Rusia, Luna Maya berusaha semirip mungkin menjadi Suzzanna, baik dalam gerakan maupun ucapan. Meskipun Luna tetap terlalu tinggi dan terlalu langsing untuk memerankan aktris legendaris itu. Herjunot Ali juga memaksimalkan diri berperan sebagai Satria walau masih tampak sebagai sosok Zainuddin dalam film Tenggelamnya Kapal Van der Wijck (2013).
    Dalam aspek sinematografis, plot film ini sudah bisa ditebak. Keluarga bahagia Suzzanna diusik komplotan penjahat, Suzzanna terbunuh saat hamil, kemudian dia menuntut balas atas kematiannnya; kematian bayi yang dikandungnya; juga kehancuran keluarganya. Pengadeganan juga sering tidak meyakinkan, misalnya saat Suzzanna terbunuh tanpa sengaja di tangan Dudun. Dengan adegan tidak sengaja semacam itu, mustahil seruas bambu yang dipegang Dudun bisa menusuk perut Suzzanna begitu dalam. Meski tidak sekeras batu, tubuh manusia juga bukan kue puding yang mudah ditembus benda dengan tekanan tidak seberapa. Dengan adegan itu, Suzzanna mestinya hanya luka saja.
    Tata kamera masih saja mengandalkan teknik mengagetkan (jump scare) sebagaimana film horor pada umumnya. Teknik semacam ini membosankan kecuali saat kamera mengarah pada foto almarhum Suzanna Martha Frederika van Osch. Setiap kali kamera mengarah ke foto yang terpajang itu, saya cukup merinding. Mungkin, karena di dunia nyata, legenda dalam sejarah film horor Indonesia itu memang benar-benar sudah meninggal dunia. Di bagian tata suara juga tidak ada yang baru. Permainan musik yang keras tiba-tiba dan cekikikan khas Suzzanna juga masih diandalkan untuk menghadirkan suasana mencekam.
    Sedangkan dalam tata artistik, saya menemukan anakronisme di mana-mana. Menurut keterangan di awal film, kisah ini terjadi pada Mei 1989, 30 tahun lalu. Latar ini meyakinkan saya ketika kamera menampilkan Morris 1951, mobil milik Satria. Namun, setelah itu, imajinasi saya langsung hancur ketika menyaksikan rambut para pemain. Model rambut Jonal dan Satria, misalnya, terlihat seperti model rambut cowok milenial. Belum lagi model celana yang dipakai keduanya, juga tokoh laki-laki lainnya. Satu lagi: bahasa yang digunakan dalam film ini tidak sedikit pun menggambarkan bahasa Indonesia di tahun 1989. Kalau tidak melihat keterangan tahun di awal film, penonton akan merasa kisah dalam film ini terjadi seminggu sebelum film ini ditayangkan di bioskop.
    Film ini juga beberapa kali kehilangan logika cerita, salah satunya ketika warga kampung membakar rumah Suzzana. Dari mana warga kampung tahu kalau Suzzanna menjelma sundel bolong padahal mereka belum tahu kalau Suzzanna sudah mati? Padahal, Suzzanna tidak menghantui warga kampung. Sebelumnya juga tidak terlihat ada interaksi antara Umar dengan warga kampung, tapi kenapa tiba-tiba Umar bisa memprovokasi warga kampung hingga mereka berduyun-duyun membakar rumah Suzzanna? Apakah karena Suzzanna tidak ikut sembahyang Subuh berjamaah sebagaimana biasa lalu penduduk bisa langsung menyimpulkan Suzzanna mati dan jadi hantu? Sungguh tidak logis!
    Tapi, ini juga bisa jadi gambaran kebudayaan kita akhir-akhir ini. Masyarakat kita adalah masyarakat yang mudah diprovokasi oleh oknum yang bahkan belum mereka kenal. Dengan mudah Umar bisa menghasut warga kampung untuk membakar rumah Suzzanna dan Satria. Tanpa tabayun terlebih dahulu, warga kampung pun bergerak bersama-sama penuh kemarahan. Dalam adegan ini, kita juga bisa melihat kecenderungan masyarakat kita yang suka menyelesaikan persoalan dengan cara main hakim sendiri. Sebuah gambaran tentang musnahnya budaya berpikir sebelum bertindak.
    Apakah kitab suci diturunkan ke muka bumi hanya untuk membuat hantu-hantu kepanasan ataukah sebagai pedoman bagi manusia untuk menjalani kehidupan? Kedangkalan dalam memahami agama berlaku bagi penulis skenario dan sutradara yang hanya menempatkan kitab suci sekadar pengusir hantu atau setan.
    Namun narasi tersebut sebenarnya juga potret keberagamaan masyarakat kita hari-hari ini. Seolah-olah agamais, tapi kapan pun bisa berperilaku bengis. Maka jangan heran kalau Suzzanna yang awalnya terlihat saleh akhirnya bisa begitu keji membunuh manusia lain demi melampiaskan dendam kesumatnya. Begitu juga warga kampung yang sebelumnya rajin sembahyang berjamaah akhirnya kalap dan main hakim sendiri saat membakar rumah Suzzanna dan Satria.
    Dari sisi politis, film ini berpotensi mengerdilkan peran kaum buruh sekaligus perjuangan mereka dalam menuntut haknya. Kaum buruh, melalui tokoh Jonal dan kawan-kawannya, dicitrakan sebagai sekelompok orang yang tamak. Padahal, dalam kehidupan nyata, justru pemodal atau pemilik perusahaanlah yang tamak dan semena-mena terhadap kaum buruh. Buktinya, hingga hari ini, buruh di Indonesia masih belum sejahtera. Upah minimum regional di tiap daerah pas-pasan untuk menunjang beban hidup mereka dan keluarganya. Ketimpangan sosial dan ekonomi terus terjadi akibat regulasi-regulasi yang tidak berpihak kepada mereka.
    Tidak hanya dangkal dalam memaknai agama dan realitas ekonomi-politik, film ini juga dangkal dalam memahami budaya. Kepercayaan lokal masih saja dicitrakan sebagai ajaran sesat. Ini bisa kita saksikan pada sosok Mbah Turu (Norman R. Akyuwen), seorang dukun Jawa, yang membantu niat jahat Jonal dan Umar untuk menghabisi hantu Suzzanna beserta Satria.
    Untuk mengesankan cinta pasangan muda ini abadi dan bahagia, penulis skenario dan sutradara film ini membuat Satria mati terbunuh di akhir cerita. Pertanyaan saya, kenapa Satria harus mati? Hanya dalam atau dengan kematiankah manusia bisa meraih kebahagiaan? Tidak bisakah Satria dibiarkan tetap hidup lalu menjalani kebahagiaan tanpa harus ikut mati bersama Suzzanna? Kenapa mati menjadi solusi terakhir untuk bahagia? Sampai di sini, tiba-tiba saya teringat kepada para pelaku bom bunuh diri di berbagai tempat demi mendapatkan sekeping surga yang diidamkan.
    Film ini juga gagal menampilkan realitas sosial masyarakat kita. Absennya penegak hukum ketika terjadi kekacauan di tengah-tengah masyarakat menjadi indikatornya. Tidak hanya dalam peristiwa pembakaran rumah Suzzanna dan Satria, polisi juga tidak ada ketika Dudun dan Gino terbunuh. Padahal keduanya mati di tempat umum: di pabrik dan di asrama pekerja. Dudun mati mengenaskan karena terlilit gulungan tali ketika lari dari bayang-bayang Suzzanna, sementara Gino tewas setelah Jonal menusuknya berkali-kali karena mengiranya sebagai Suzzanna.
    Sebegitu lalaikah polisi kita? Mengapa tidak ada seorang pekerja pun yang melapor ke polisi atas terbunuhnya Gino atau Dudun? Sebegitu naifkah warga kampung, hingga tidak ada satu orang pun yang waras lalu mencegah agar warga lainnya tidak main hakim sendiri dalam peristiwa pembakaran rumah Suzzanna dan Satria? Atau, penulis skenario dan sutradara film ini menganggap pembakaran rumah dan aksi bunuh-bunuhan itu tak perlu ditangani oleh penegak hukum?
    Situs Filmindonesia.or.id mencatat, film Suzzanna: Bernapas dalam Kubur meraih 3.346.185 penonton. Film ini pun menjadi film Indonesia terlaris kedua pada tahun 2018. Gejala apa ini? Kenapa masyarakat kita suka menonton film berisi aksi-aksi balas dendam dengan adegan-adegan bertabur kekerasan dan kekejian?
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