With the 2008 Democratic and Republican conventions upon us, and the Presidential race finally entering its last lap, US politics are a hot ticket. They’re burning up all the networks, and they’re the darling of the tabloids. Pity that in all that coverage, issues are buried beneath the glam factors of potential First Ladies and candidates’ favorite pop culture heroes.

Given that, it’s not surprising that some circles liken the McCain-Obama election race to the Kennedy-Nixon contest of 1960. Indeed, there are parallels, magnified out of proportion though they may be. Then, like now, the times were more about drama than substance. TV was the New Media of the time, and just as the Internet sometimes stumbles as it finds its footing, television for the most part didn’t quite realize the power it held. As one might expect, seeds of revolution were quietly taking root, with politicians and documentarians shaping a new zeitgeist.

Robert Drew was instrumental in reshaping the voice and visage of the news, taking it from a “talking head” format to something more immersive and immediate. In the process, he invented the cinema verite style of film journalism. Thus, The Robert Drew Collection: JFK Revealed (Primary/Crisis/Faces of November) (1963) offers an intimate look at JFK, the likes of which had never been recorded, and also serves as an historical document in its own right. These films represent the origins of cinema verite, wherein the viewer becomes a passive participant in the film. There’s no narration, only the players in the film followed silently by hand-held cameras, leaving the viewer to draw his own conclusions about the events transcribed.

The first film in the collection, Primary, follows the campaigns of Minnesota senator Hubert Humphrey and upstart Massachusetts senator John Kennedy as they vie for the Democratic presidential nomination in 1960.The contrasts between the two are stark: Humphrey is an old-school politician attempting to appeal to Wisconsin voters’ agricultural roots at the expense of the “eastern elite”, portraying himself as a champion of the common man. Kennedy, on the other hand, can be perceived as a celebrity adored by urban voters and youth, a rock star before that term was used in politics. The real stars of the film, though, are the voters of Wisconsin, whose views are surprisingly diverse. And even though we know how it ends, Drew’s filmmaking prowess makes it a nail-biting finish.