The only film among Kenji Misumi’s seventy-plus titles to feature a contemporary setting, Ken explores the conflict between ancient traditions and modern values in a Japanese society torn from its roots. Kazuro Funabashi adapted the story from a work by the controversial Yukio Mishima, supreme chronicler of the agony and ecstasy of ascetic discipline, with Misumi employing tense black-and-white widescreen compositions to render a dojo a veritable hothouse of rivalry and self-repression. Led by the impeccably moral, intimidatingly driven head apprentice Kokubu (Raizô Ichikawa), a training camp for young swordsmen is compromised by the jealousy of third-stringer Kagawa (Yūsuke Kawazu), who plans to undermine Kokubu and his charges with sensual temptations. One of Misumi’s darkest efforts, Ken is a psychological examination of erotic sublimation and corruption in the guise of a martial arts film.