Tsukigata Hanpeita – Kokichi Uchide (1952)
The Swordsman and the Actress – Yasushi Sasaki (1955)
Warrior's Flute – Yasushi Sasaki (1955)
Mysteries of Edo – Shoji Matsumura (1956)
Peach Boy – Tsuneyo Kobayashi (1956)
Scramble for Fortune – Ryo Hagiwara (1956)
The Young Boss – Kiyoshi Sakei (1958)
Detective Hibari: Case of the Gold Hairpins – Tadashi Sawashima (1958)
First Love of Okon – Kunio Watanabe (1958)
Tange Sazen: Secret of the Golden Spell – Sadatsugu Matsuda (1958)
Bride of Peacock Castle – Shoji Matsumura (1959)
Bull's Eye of Love – Masahiro Makino (1959)
The 47 Masterless Samurai – Sadatsugu Matsuda (1959)
Gentle Breeze – Tadashi Sawashima (1959)
A Spectacular Showdown – Yasushi Sasaki (1959)
Magistrate Toyama 4: Edo Official and Apprentice – Tadashi Sawashima (1959)
A Young Rabble – Yasushi Sasaki (1959)
A Young Rabble 2 – Hisaichi Kono (1959)
Ishimatsu the One-Eyed Avenger – Tadashi Sawashima (1960)
Mighty Shosuke – Sadatsugu Matsuda (1960)
Samurai Vagabonds – Tadashi Sawashima (1960)
Benten Kozo – Yasushi Sasaki (1960)
Heavenly Dragon – Eiichi Kudo (1960)
Bride of White Castle – Tadashi Sawashima (1961)
Flowers on the Road – Eiichi Kudo (1961)
Hibari is Fashion Crazy – Yasushi Sasaki (1961)
Little Tengu – Daisuke Yamazaki (1961)
Princess Sen and Hideyori – Masahiro Makino (1962)
Tengu Priest – Yasushi Sasaki (1962)
Travels of Hibari & Chiemi: The Tumultuous Journey – Tadashi Sawashima (1962)
While Traveling – Toshikazu Kono (1962)
River Washes Away the Moon – Yasushi Sasaki (1963)
Road in the Mist – Kokichi Uchide (1963)
Travels of Hibari & Chiemi: The Lovebird's 1000 Ryo Umbrella – Tadashi Sawashima (1963)
Snake Princess – Tadashi Sawashima (1965)
Actress vs. the Greedy Sharks – Tadashi Sawashima (1966)
Princess Raccoon – Seijun Suzkui (posthumous CGI appearance, 2005)

Singer/actress megastar Hibari Misora reached heights of popularity in '50s and '60s Japan comparable to our adoration of Marilyn Monroe and Elvis Presley, combined. Her many film roles generally revolved around song and dance numbers, even her ventures into jidai-geki. Surprisingly, her samurai-era movies are pretty good if you're in the mood to suspend disbelief and enjoy some light entertainment. Misora's real-life lesbianism sometimes indirectly and coyly manifested itself, as in her recurring penchant for playing male roles. In fact, her performance as the one-eyed folklore yakuza Ishimatsu ranks admirably with Shintaro Katsu's and Kinnosuke Nakamura's manly efforts.