What really strikes me as interesting about this ship is that (notwithstanding the single nacelle) it seems a much closer match for the design and engineering aesthetics of the TOS Enterprise. Unlike the new 1701, this is a clear precursor to what we saw in the original series and movies.
Kind of undermines the folks saying that those aesthetics wouldn't work in this movie. They're just not being used on the right ship. It's as if everything has been shifted by a couple of decades—this belongs in the 2250s, not the 2230s.
You know, I'd point out here that the nacelle portion bears a striking resemblance to a navy jet fighter of the late 1950's/early 60's, eg. second generation jet fighter craft.
I've been talking about visual metaphors here and there in other threads. This strikes me as a way to "date" this portion of the film...eg. if one sees TOS as a product of the mid-60's, and this portion of the film occurs prior to TOS (eg. earlier in the 23rd century), then you wind up with a ship that pays homage to the late 50's/early 60's...
If I read you correctly, you're mostly agreeing with me. Thing is, this would make a lot more sense if the film
did see the TOS-era 2260s (although technically this story apparently fits in the 2250s) as analogous to the design aesthetic of the 1960s, and treated the Enterprise accordingly... rather than skipping several decades.
IOW, an Enterprise that looks a lot more like a direct descendant of the Kelvin—and thus a lot more like the TOS version—would make a lot more sense.
1. Unless there is some change in the timeline at this point.
2. Depending on what metaphors the design team and JJ have in mind. I've argued elsewhere here that the metaphor for the new old E is found in Uhura. In this, Uhura is young and sexy, yet classy. The curved edges and firm nacelles on the new E follow the lines of a young woman, whereas the TOS Enterprise is a more mature, but still young woman, very like Uhura was in TOS.
Uhura is and always has been the voice of the Enterprise. Think of The Tholian Web--she saw Kirk first, remember. Remember how she reacted. That's very like the Enterprise would react to finding her captain again. Uhura isn't just a receptionist, she
is the Enteprise embodied in a person. In this movie, Uhura has a lot of attitude who has her defenders but is able to hook any man she wants - but not any man will do. She won't let Kirk have her, because she's too much woman for him to handle, yet she'll give him a peek - because she can, and she knows she can, then she'll toss him out on his ear.
That's also the way the Enterprise comes across in this movie. This is the Enteprise in sexy lingerie, showing her curves and the power she has over men. The TOS Enterprise is the Enteprise in a miniskirt and boots, but with class and power, yet having found her man, Kirk. TMP Enterprise is the Enterprise in a pantsuit, wrapped in newness and mystery, hoping Kirk will captain her, if only for a time. TWOK Enteprise is the Enteprise in middle age, going about her business, becoming a teacher for the younger set. TSFS Enteprise is the Enteprise, bruised and battered, yet ready to escape spacedock and decommissioning the way Uhura is ready to throw Mr. Adventure in the closet for one final mission. Uhura sitting at that console, with Mr. Adventure talking about the winding down of her career strikes me as a strong parallel to the Enterprise sitting in spacedock hearing talk of her eventual decommissioning, with Excelsior sitting across from her. Mr Adventure is to Excelsior what Uhura is to Enteprise. In short, Uhura and her role in both TV and film, as a character, tracks to Enterprise in every incarnation.
IMO, JJ and Co. are conscious of this. So, here, the design aesthetic for the E can't be tied in rote fashion to the 50's/60's aesthetic. It
also has to be indexed to the way Uhura will be portrayed.
