Hiroko Yakushimaru

1.1. Early Life and Education

Hiroko Yakushimaru was born on June 9, 1964, at the Japanese Red Cross Medical Center in Hiroo, Shibuya Ward, Tokyo. She grew up in Kitaaoyama, Minato Ward, in a household where both her parents worked. As a child, she would often wait for her mother in front of their apartment building's elevator after work. Her parents' hobby was classical music, and they often took her to concerts. In her early kindergarten and elementary school years, when she was sick or injured, her grandmother would carry her home from school. She felt a sense of embarrassment on Aoyama-dōri because of the many onlookers, but also felt apologetic towards her grandmother for that embarrassment. She harbored an inferiority complex about her straight bob haircut, which made her look like she had an upside-down pot on her head, especially compared to many other children in Harajuku Kindergarten who had curly hair. She was initially extremely shy and reluctant to be in the public eye. However, in elementary school, she transformed into a noticeable child, often seemingly favored by her teachers. During her early elementary school days, she even went on a double date with two boys and another girl to see the animal panic film Ben. Her favorite subject in elementary school was physical education. She was a fast runner and remained a relay race athlete until her third year of high school.

Yakushimaru was scouted by a small talent agency that submitted her snapshot for the Kadokawa film Never Give Up. She learned about her application when she was notified of passing the second round of auditions. Perplexed, both she and her mother hoped she would fail the final selection, believing that if she did, the person who submitted her photo would give up. However, the film's producer, Haruki Kadokawa, was impressed by her future potential and strongly advocated for her, leading her to win the audition despite being 13 years old for a 10-year-old role and lacking acting experience. Kadokawa noted her remarkably impressive eyes. When asked by judge Kohei Tsuka to sing a Pink Lady song, Yakushimaru bluntly refused, having no desire to become an actress. However, Kadokawa was charmed by her strong will. Kadokawa also intervened to dissolve her existing relationship with the small talent agency before the audition. The day after the audition, upon seeing her name prominently displayed in the newspaper, she realized it was impossible to reverse the established fact and decided to proceed with the film.

1.2. Early Entertainment Career and Kadokawa Film Debut

Her debut film, Never Give Up, was a significant success, marking the first time a Kadokawa film ranked first in annual domestic box office. Despite this, Yakushimaru considered quitting the entertainment industry due to missing 53 days of school for filming, which disrupted her studies. She conveyed this to Kadokawa Haruki Office, demanding that future work not interfere with her schooling. Consequently, for her second film, G.I. Samurai (1979), filming was limited to just a single national holiday, Sports Day, to accommodate her studies. Until her university graduation, she never missed school for work. She viewed film sets as a second form of compulsory education, learning from directors and co-stars who acted as parental figures, scolding her for everything from acting to eating while standing.

Even when she was not actively acting, Kadokawa Haruki Office kept her in the public eye. In 1979, the long commercial "Color" for Shiseido, directed by Akio Jissoji, in which Yakushimaru appeared, won a gold medal at the Cannes Lions International Festival of Creativity. In 1980, she appeared in another Shiseido long commercial, "Lipstick - Longing", directed by Yoichi Higashi. Her appearance in a single-episode TBS Television drama, Yosooi no Machi (1979), was later given a theatrical release in July 1982, as a double feature with Sailor Suit and Machine Gun: Perfect Edition. In 2012, Yakushimaru portrayed producer Fukuko Ishii from Yosooi no Machi in the drama When a Wife Sees Off Her Husband.

1.3. Kadokawa Film Era (1978-1985)

This period saw Yakushimaru's meteoric rise to stardom as the face of Kadokawa Pictures, with a string of major box office successes and critical acclaim.

1.4. Post-Kadokawa Independence (1985-present)

After her successful period with Kadokawa Pictures, Hiroko Yakushimaru embarked on an independent career, continuing to challenge herself and evolve as an actress and singer.

1.5. Personal Life and Relationships

Hiroko Yakushimaru's personal life, though largely private, includes a significant marriage and divorce, and a formative relationship with a legendary co-star.

2.1. Debut and Early Hits

Despite being offered a singing debut shortly after her film debut in 1978 and again during the production of Nerawareta Gakuen (1981), Yakushimaru initially declined. She felt it was impossible to balance singing with her studies and was anxious about increased media exposure. She preferred to commute by herself via train to school and work. For three years, from her screen debut until her singing debut in November 1981, she was even described as "the (last) idol who doesn't sing." At a time when the search for the "post-Momoe Yamaguchi" idol was fervent, Yakushimaru was dismissed as not singing. However, according to Shigeyuki Endo, Kadokawa's publicity manager, her singing the theme song for Sailor Suit and Machine Gun transformed her from a star limited to film fans into an idol appealing to her generation.

All of her singles released during her Kadokawa Pictures era, "Sailor Suit and Machine Gun" (1981), "Detective Story" (1983), "Main Theme" (1984), and "Woman "W's Tragedy" no Yori" (1984), were theme songs for her starring films. While "Main Theme" peaked at number two, the other three reached number one on the Oricon charts. The B-side of her second single, "Detective Story," titled "Sukoshidake Yasashiku" (1983), became the ending theme for the TBS show Wakuwaku Dōbutsu Land.

Through "Detective Story," she met lyricist Takashi Matsumoto and composer Eiichi Ohtaki, which sparked her enjoyment of singing and album production, making her want to continue singing. She stated that if she hadn't met them, she might have remained solely an actress. Matsumoto, in collaboration with Yakushimaru, aimed to create timeless songs rather than trendy, commercial ones, and he expressed satisfaction with all the songs he wrote for her.

One of Yakushimaru's signature songs, "Genki o Dashite," was written for her by Mariya Takeuchi. It is included in her highly successful first album, Kokinshū (1984), which sold 477,000 copies, but was never released as a single. Takeuchi later covered the song on her 1987 album REQUEST, with Yakushimaru and Tatsuro Yamashita contributing chorus vocals, which Takeuchi lauded as "exquisite."

2.2. Promotional Strategy in the Kadokawa Era

During her Kadokawa era, Yakushimaru's appearances on music programs were part of pre-release movie campaigns. She typically appeared only once or twice before a film's release on popular music shows like Yoru no Hit Studio, The Best Ten, or The Top Ten, and then largely declined further invitations. This was a challenging task for record companies, who usually had to request airtime for their artists; instead, the film company Toei handled the liaison with music programs. The reason given for her limited appearances was the film industry's custom of restricting lead actress promotions to the period leading up to a film's opening day. Shigeyuki Endo, Toei's publicity manager at the time, explained that Kadokawa's strategy was to create anticipation among fans by minimizing Yakushimaru's public exposure outside of immediate film promotions, coupled with her prioritization of academics and her music activities being limited to film theme songs.

2.3. Musical Philosophy and Vocal Ability

Yakushimaru's long and successful singing career is underpinned by a distinct musical philosophy and critically acclaimed vocal qualities.

When performing past hits, she adheres to a strict rule: singing in the original key and maintaining the original phrasing to preserve the listener's memory and image of the song. Maintaining the original high notes also serves as a motivation for her. As of 2016, she takes lessons from a vocal coach to maintain her high register, stating that this is also crucial for her diverse vocal expressions as an actress. While training to improve her singing is important, she also strives to retain her unique style. Knowing the meticulousness of composers, she avoids reinterpreting songs and remains faithful to the musical scores.

In a 2017 interview, she stated that both excessive happiness and intense sadness significantly affect her singing voice, necessitating a deep introspection of her own physical and mental state. During live rehearsals while immersed in her role as a mother with a sick child in the film The 8-Year Engagement, she found her voice unable to reach high notes due to sadness, and singing felt joyless. At one point, she even considered retracting her commitment to sing in the original keys.

In a November 2021 interview with Nikkei Shimbun, she expressed that while acting roles are distinct from her true self, singing is different; she genuinely wants to convey the words she sings, which is why she loves it. When asked about the secret to singing her hits in the original key for 40 years, she mentioned learning a vocal technique developed by American theater professionals a few years prior, which has benefited both her acting and singing. She noted that her old hits have transcended her and are now intertwined with the memories of many people, so she strives to sing them as faithfully to the original as possible.

Regarding her vocal ability, music critic Issei Tomizawa states that Yakushimaru possesses exceptional singing talent. He describes her vocal style as orthodox, faithful to the fundamentals, with a clear, soaring high register. He credits her human qualities cultivated through life experiences and her acting expertise with enriching her musical expression. Taihei Kubota characterizes her as an artist of rare talent, whose pure and polite singing style was distinctive. Masaki Uchida praises her long-established vocal prowess, noting her earnest falsetto, which is faithful to the score and clearly audible, possesses a unique warmth and the nuanced expressive ability characteristic of an actress. Hiroshi Shinozaki, a culture editor for the Asahi Shimbun, attributes Yakushimaru's appeal to her transparent voice and a broad vocal range achieved by effortlessly extending her falsetto from mid to high registers. Yasuharu Konishi described her voice as "an angel's hymn." Yakushimaru herself expresses gratitude for her unique and distinctive voice.

Music writer Hitoshi Kurimoto suggests that the existence of high-quality songs provided by top-tier staff is one reason for Yakushimaru's successful singing career. He explains that her ability to deliver these songs with her strong vocal prowess led to their hits and her acclaim. According to music critic Susie Suzuki, encountering two masterpieces-"Detective Story" (1983) composed by Eiichi Ohtaki and "Woman "W's Tragedy" no Yori" (1984) composed by Yumi Matsutoya under the pseudonym Karuho Kureta-was the greatest fortune for Yakushimaru as a singer. She asserts that Yakushimaru's mastery in perfectly singing these two divine songs demonstrates her true depth as a vocalist. Hideki Take highlights Yakushimaru's advantage over other singers of her generation in the 1980s, attributing it to the existence of her five albums: Kokinshū (1984), Yume Jūwa (1985), Hana Zukan (1986), Hoshi Kikō (1987), and Sincerely Yours (1988).

2.4. NHK Kōhaku Uta Gassen Appearances

While Sailor Suit and Machine Gun was a massive hit in both film and music, Yakushimaru declined to appear on the 33rd NHK Kōhaku Uta Gassen in 1982 because she was on hiatus for university entrance exams. Instead, Junko Sakurada performed "Sailor Suit and Machine Gun" in her place. Yakushimaru later appeared twice on Kōhaku: as a guest judge in 2005 and as a supporting guest in 2007. In 2013, she made a special appearance on the 64th Kōhaku, performing "Umi Kaze no Memory" in character as Hiroka Suzuka from Amachan. The following year, in 2014, she was formally selected to participate in the 65th Kōhaku, where she performed "Woman "W's Tragedy" no Yori" accompanied by Masataka Matsutoya on piano, marking her official Kōhaku debut as a singer. In 2021, she performed "Woman "W's Tragedy" no Yori" at the 72nd NHK Kōhaku Uta Gassen, backed by the Tokyo Philharmonic Orchestra, with Masataka Matsutoya on piano and orchestral arrangement.

3.1. Public Image and View on the Entertainment Industry

Around the time of Sailor Suit and Machine Gun (1981), Yakushimaru, supported by the popularity among teenagers, was often dismissed by many middle-aged men as an "idol" manufactured by Kadokawa's commercialism, largely indistinguishable from an ordinary girl, often described as resembling Momotarō. Conversely, Kadokawa's strategy of mystification-her "no TV appearances" policy, her availability "only on the silver screen," her not being a singer until her fifth live-action film, and her prioritization of academics over entertainment activities-along with Yakushimaru's own qualities, imbued her with "movie star" charisma. Unlike idols who primarily worked in television, her film focus led some to categorize her as a star, while her approachability led others to see her as an idol. Part of her appeal lay in being perceived as an "ordinary person" rather than a "fluffy idol or celebrity," with fans citing reasons like "she attends school every day" and "she's so good because she's like an amateur." Thus, when she debuted as a singer in 1981 with the theme song "Sailor Suit and Machine Gun," older fans reportedly admonished her, saying, "You're not an idol singer!"

She maintains that she does not and cannot fully integrate into the glamorous entertainment world. When filming Sailor Suit and Machine Gun (1981), she insisted on using normal greetings like "good evening" to senior staff and actors, rather than the industry's customary "good morning" regardless of the time of day. Cinematographer Seizō Senmoto, who initially found her behavior frustrating, eventually grew fond of her, realizing she was a straightforward young woman. When Senmoto was honored by the Agency for Cultural Affairs in 2014, Yakushimaru attended the ceremony to congratulate him. Her autographs were not stylized like a celebrity's but were written in neat, ordinary kaisho script, similar to how a typical girl would fill out a test paper. A 1983 article in Kinema Junpo posited that Yakushimaru's large female fanbase stemmed from her ability to speak her mind, adhere to her academic and professional commitments, and bravely navigate the adult world, rather than being a puppet.

She attributes her lack of aspiration for the entertainment industry to her upbringing in Aoyama, where she frequently encountered stars. Friends' fathers were idol directors, and one friend's house was visited by Masako Mori, who was famous for her hit "Sensei." Surrounded by people connected to the entertainment world, she felt it wasn't for her. She describes her true self as "country-bred in the city" due to this gap between her environment and her profession. During negotiations for Tonda Couple (1980), her aspiration was to become a film crew member (script supervisor) rather than an actress, as she was shy and disliked boisterous behavior. In a 1993 interview, she explained her past reluctance to appear on television, stating she disliked being recognized by an indiscriminate public, believing that only those who went to cinemas would know about her.

3.2. Self-reflection on Acting Aptitude

After appearing in W's Tragedy (1984) at age 20, Yakushimaru decided to quit acting. She cited a loss of confidence and passion for film, a desire for freedom from her work-centric life, and feeling mentally exhausted. At one point, she considered retirement, but then resolved to continue acting by adhering to three principles: "never getting bored, never becoming indifferent, and never getting used to it." Around the same time, she expressed a desire to become a good motherly actress by age 30.

In her mid-30s, while contemplating whether to continue acting, she traveled to the United States for counseling. When she asked about her aptitude for acting and revealed how many years she had been in the profession, the counselor told her, "You've been acting for over 20 years, haven't you? It's impossible that you're not suited for it after so long. You don't need to worry anymore." This statement served as a revelation, helping her reaffirm her love for acting and her desire to continue as long as she is wanted. Since then, she aims to be able to embody any role or expression she wishes to convey when the opportunity arises.

Yakushimaru expressed gratitude for being able to work with directors and staff of her generation who watched her films from her student days, such as Sailor Suit and Machine Gun (1981). Isao Yukisada, who directed A Good Husband (2010), said he became interested in film after watching Sailor Suit and Machine Gun. Hirotaka Koiwai, the producer of Yakushimaru's first starring TV drama Mrs. Cinderella (1997), cited W's Tragedy (1984) as his inspiration for entering the industry. She sometimes apologizes to film crew members who tell her they used to watch her play baseball, feeling she made them waste their money.

Kumi Ogawa, who worked as a stylist for magazines and commercials, was responsible for Yakushimaru's wardrobe from her debut in 1978 until Tasmania Monogatari (1990) after her independence from Kadokawa Haruki Office. Ogawa was captivated by the world of film when she first joined the crew of Sailor Suit and Machine Gun and later transitioned into a career as a film costume designer. For Ogawa, meeting Yakushimaru was a turning point in her life.

The lines spoken by Hiroka Suzuka (played by Yakushimaru) to Aki Amano (played by Rena Nōnen) in Amachan (2013)-"Continuing is also a talent," and "Even if you're not suited for it, continuing is a talent"-felt like words of encouragement for Yakushimaru herself. In March 2014, at the Broadcast Woman Award 2013 ceremony, she reflected on her 35-year career as "chaotic and unplanned," expressing gratitude for being able to continue in the industry despite her shy and unsociable nature. She also noted that early failures pushed her to work harder. In a 2017 interview, she reiterated that her career had not been easy or consistently smooth, but added that "miracles are always around the corner."

3.3. Personal Characteristics and Anecdotes

Hiroko Yakushimaru's personality is marked by her humility, a love for routine, and a deep affection for animals, particularly dogs.

She holds a strong aversion to her former beauty mark (a "naki-bokuro" or "crying mole"), which she had removed between May 1994 and December 1995.

Yakushimaru is an excellent driver and is particularly skilled at parallel parking, receiving compliments from taxi drivers. Having grown up in Tokyo, she knows the city's roads well and finds it stressful to be a passenger with unfamiliar drivers.

She keeps a five-year journal, which reveals that she tends to embark on escapist trips during periods of mental imbalance, or if she cannot travel, she experiences deep distress in Tokyo. She is surprised by the cyclical nature of her mental state, noting that entries from the same time each year often describe similar patterns of sadness or travel. Reading her diary helps her accept that "life is just like this," noting how "yesterday was fun, but today is sad," or "a year ago was tough, but now I'm so well." In a 2005 interview, she mentioned keeping a ten-year journal, observing that she consistently becomes sentimental during seasonal changes.

Yakushimaru is a devoted dog lover, having owned three dogs in the past. She recounts an instance where her usually quiet Shiba Inu barked to alert her to a sparking electrical panel outside, preventing a potential fire. Another time, her Labrador Retriever bravely confronted a car thief attempting to break into her home, thwarting the crime. As of 2016, she does not own a dog but borrows a neighbor's dog for her daily walks, covering 3.1 mile ^{(5 km)} to 3.7 mile ^{(6 km)} each morning and evening. Conversely, she has a severe allergy to cat fur.

6.1. Film

6.2. Television

7.1. Studio Albums

7.2. Compilation Albums

7.3. Cover Albums

7.4. Live Albums

7.5. Instrumental Albums

7.7. Singles

7.8. Digital Singles

7.9. Video Albums

8.1. Photo Books

The combined circulation of her "Hiroko Yakushimaru Photo Memoir" series (Part 1, Part 2, Part 3) exceeds 800,000 copies.

• Hiroko Yakushimaru Photo Memoir (December 1979, Fujimi Shobō)
  • Hiroko Yakushimaru Photo Memoir Part 1 (1978-1980) (June 1984, Kadokawa Shoten)
• Hiroko Yakushimaru Photo Memoir (Part 2) (December 1980, Fujimi Shobō)
  • Hiroko Yakushimaru Photo Memoir Part 2 (1980-1981) (June 1984, Kadokawa Shoten)
• Hiroko Yakushimaru Photo Memoir (Part 3) (March 1982, Fujimi Shobō)
  • Hiroko Yakushimaru Photo Memoir Part 3 (1981-1982) (October 1984, Kadokawa Shoten)
• Flashback Hiroko: The True Shine "Detective Story" Release Commemoration - Hiroko Yakushimaru Photo Book (June 1983, Kadokawa Shoten)
• Hiroko Yakushimaru Visual Message: 21-Year-Old Journey (December 1985, Fusosha Publishing)
• "Yabanjin no Yo ni" Photo Book (January 1986, Shueisha)

8.2. Interviews and Dialogue Collections

• Playback Hiroko: Chewing on Words "Detective Story" Release Commemoration - Hiroko Yakushimaru Dialogue Collection (June 1983, Kadokawa Shoten)
• Satoshi Kamata Japanese People's Work (September 1986, Heibonsha) - Includes an interview about her acting work after becoming independent from Kadokawa Haruki Office.
• "Film Love" Actor Edition: Kiichi Mutō Interview Collection (May 1993, Daiei Publishing) - Includes an interview from November 17, 1992.
• Takashi Matsumoto Dialogue Collection KAZEMACHI CAFE (April 2005, Pia) - Includes a dialogue from September 12, 2001, discussing the September 11 attacks and the passing of director Shinji Sōmai.
  • Kazemachi Sabō: Takashi Matsumoto Dialogue Collection (January 2017, Rittor Music) - Revised edition of KAZEMACHI CAFE.

8.3. Magazine Features

• Variety (1978-1986, Kadokawa Shoten) - Served as Yakushimaru's fan magazine. Kadokawa Haruki Office's policy was not to have a fan club for Yakushimaru.
  • "Yasei no Kagayaki ni Michite - Yoriko" (May 1978 issue) - First appearance.
  • "Duet of Fifteen" (December 1979 issue) - Dialogue with Keiko Ohginome.
  • "Egao 300 Million Volts - Seishun o Anata ni" (October 1980 issue) - Roundtable discussion with Kaoru Sugita and Keiko Ohginome.
  • "Hiroko Yakushimaru Special" (August 1981 extra issue) - Mini photo book and data book on films, TV, and commercials until Nerawareta Gakuen.
  • "Good Luck! Hiroko Yakushimaru" (May 1985 issue) - Gravure and interview just before her independence from Kadokawa Haruki Office, coverage of the Blue Ribbon Awards ceremony, and a list of her appearances in 86 issues (84 regular, 2 extra issues) over 8 years.
• Shukan Asahi (November 23, 1979 issue, Asahi Shimbun) - Cover feature.
• Weekly The Television (September 22, 1982 inaugural issue, Kadokawa Shoten) - Appeared on the cover 12 times (as of March 1, 2002 issue), including the inaugural issue.
• Kinema Junpo (Kinema Junpo-sha)
  • Junji Yamagiwa "Hiroko Yakushimaru Interview" (December 1981 issue).
  • Yoko Utsumi "Hiroko's Trajectory" (July 1983 issue).
  • Masaaki Nomura "The Birth of an Idol - The Case of Hiroko Yakushimaru" (August 1983 issue).
  • Tetsuhisa Nakaoka "A Discussion of Hiroko Yakushimaru" (February 1986 issue).
  • Toshiro Ogata "Wonderful Film Actress (7) Hiroko Yakushimaru - Welcome Back to Film!" (November 2005 issue).
  • Hiroko Yakushimaru "Hiroko Yakushimaru: Encountering the Magic of Cinema, the Miracle of Cinema in 2005" (February 2006 issue).
  • Makoto Kanazawa "Hiroko Yakushimaru Interview" (November 2007 issue).
  • Tatsuya Masutomi "The 'Kai...kan' of Watching Film Star Hiroko Yakushimaru in Cinemas" (July 2023 combined issue).
• Roadshow (June 1985 issue, Shueisha) - Featured a two-shot cover and special dialogue with Phoebe Cates. Yakushimaru was the first Japanese actor to appear on the cover of the foreign film specialized magazine Roadshow, and the third Asian actor after Nora Miao (1975) and Jackie Chan (1982).
• Hiroko Yakushimaru "Exclusive Interview: Peeking into My Heart with a Five-Year Journal" (October 7, 1998 issue, Chuo Koron Shinsha)
• Sawako Agawa "I Want to Meet This Person (610) At twenty, I decided to quit once, thinking 'I'll decide how to cry' - Actress Hiroko Yakushimaru" (December 8, 2005 issue, Bungeishunjū)
• Mariko Hayashi "Mariko, Is It Okay to Ask This Far? (300) Guest: Hiroko Yakushimaru, Actress" (February 3, 2006 issue, Asahi Shimbun Publications Inc.)