All I said that if you wanted a simpler substitute for the Bm7, you could use the D.
If you think that I don't understand the nature of guitar music, or you think that I am talking down to someone or other, then you aren't a very good reader. I have invested a lot of time here trying to make sense out of questions that people have posted here, related to guitar playing and music theory. Because of the nature of the medium, and the nature of the subject, sometimes it takes a bit of back and forth to get to a useful answer, but I'll put my knowledge of the guitar, music theory, and my determination to get to the bottom of things, up against anyone else.
As to the point about the F#, I was talking about a the note in the melody, not an Fmsus chord. Marion had transposed into the Key of A, so that the Csus chord is likewise transposed--to a Bm7sus.
At any rate, if you play the chords like this: |DD/AA/Bm7-Bm7sus4/AA| then the you have a chord melody effect, because the chord changes follow the melody line.
The chord isn't really technically a sus chord though, because it supports a melody note, which is in the dominant harmony, and you can just as easily play a passing E-chord and get the melody note that you need, with the more classic harmonic support.
There are a lot of possible chord arrangements for this tune, because it has a circular repeating pattern, derived from Latin music, that is called a "montuno" The melody and improvisations based on the melody fit over a simple repeating chord progression, and the chords actually change their function depending on the melody note and their place in the melody.
I had an arrangement of this song that I used to use with my guitar students that was a sequence of five different but overlapping progressions. Each student started with a different progression, then played the five in sequence. The arrangement was competely different, depending on how many players were involved.