{"id":56460,"date":"2025-11-08T23:25:52","date_gmt":"2025-11-08T16:25:52","guid":{"rendered":"https:\/\/ffd.or.id\/?p=56460"},"modified":"2025-11-08T23:25:52","modified_gmt":"2025-11-08T16:25:52","slug":"koesroyo","status":"publish","type":"post","link":"https:\/\/ffd.or.id\/en\/film-review-en\/koesroyo\/","title":{"rendered":"Why Do You Love Me?"},"content":{"rendered":"

Why do you love me
\n<\/em>So sweet and tenderly
\n<\/em>I’ll do everything
\n<\/em>to make you happy
\n<\/em><\/p><\/blockquote>\n

\u2014 Why Do You Love Me? (Koes Plus, 1972)<\/p>\n

When I was a kid, around the early ages of preschool to elementary school, Yok Koeswoyo\u2019s melodious voice often filled the living room every weekend morning. Besides the song \u201cWhy Do You Love Me?\u201d<\/em>, the lyrics that still linger and loop like a tape in my memory are titled \u201cDiana\u201d<\/em>, because it shares the same name as my classmate in junior high school, who one day\u2014until graduation\u2014refused to sit next to me anymore, for some reason. Diana, Diana, my dearest\u2026<\/p>\n

\"Koesroyo<\/p>\n

Hilmar Farid, quoting (and summarizing from) H.B. Jassin, said: if it takes 200 pages for Pujangga Baru to recite, Chairil Anwar can do it in two sentences; and in the pop music of his time, Koes Plus had a similar impact. Concise, compact, and piercingly ear-catching across generations. Koes Plus\u2019 songs are still alive today. Because, I think, apart from successfully becoming a guide to nostalgia, they also have the explosive power to ignite and erupt a ripple of emotions that are both profound and universal.<\/p>\n

\u201cOkay, but [we must do it] right away. I may not be here tomorrow,\u201d said Yok when director Linda Ochy asked for permission to film him, as quoted in a media article. Koesroyo: The Last Man Standing (2024) is Sari Koeswoyo\u2019s love letter to her father. Sari wanted to immortalize Yok behind the stage lights and the cheers of his fans, who call themselves Jiwa Nusantara<\/em> (The Nation\u2019s Soul, lit.). The montage of Yok\u2019s journey with Koes Plus is pieced together from photo archives, newspaper clippings, and video clips of them performing on stage. The camera moves retrospectively to construct and reflect on Yok’s relationship with\u2014primarily but not limited to\u2014music.<\/p>\n

\"Koesroyo<\/p>\n

Music as his profession is intertwined with his daily deeds of gratitude. It becomes Yok\u2019s way of cherishing memories, mourning, praying for the nation, and giving thanks to life and its creator. After the credits, my fingers were immediately triggered to open my music player app and look for Koes Plus songs. Like stepping into a time tunnel, I was thrown back to that time. My childhood, on the weekends, in the living room with the speakers blaring the song \u201cWhy Do You Love Me?\u201d<\/em>. Perhaps, this film is a portal we can walk through to immerse ourselves and celebrate the old days together. Yok\u2019s legendary days, the last man standing. (Hesty N. Tyas) (Ed\/Trans. Vanis)<\/p>\n

 <\/p>\n

Film Details <\/strong>
\nKoesroyo: The Last Man Standing
\nLinda Ochy | 61 min | 2024 | DKI Jakarta
\nIn Competition for Indonesia Feature-Length Documentary<\/strong>
\nFestival Film Dokumenter 2025<\/p>\n","protected":false},"excerpt":{"rendered":"

Why do you love me So sweet and tenderly I’ll do everything to make you happy \u2014 Why Do You Love Me? (Koes Plus, 1972) When I was a kid, around the early ages of preschool to elementary school, Yok Koeswoyo\u2019s melodious voice often filled the living room every weekend morning. Besides the song \u201cWhy […]<\/p>\n","protected":false},"author":788,"featured_media":43566,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[21],"tags":[],"edition":[781],"class_list":["post-56460","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film-review-en","edition-ffd-2025-en"],"acf":[],"_links":{"self":[{"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/posts\/56460","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/users\/788"}],"replies":[{"embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/comments?post=56460"}],"version-history":[{"count":0,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/posts\/56460\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/media\/43566"}],"wp:attachment":[{"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/media?parent=56460"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/categories?post=56460"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/tags?post=56460"},{"taxonomy":"edition","embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/edition?post=56460"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}