I second the 3200. I've shot in the U.K. a fair bit (same weather and light) and 3200 is almost indespensible. I've also shot with a Bronica with an 80mm. Great combo. The grain and tonal scale of 3200 film can really make a picture "fit". There is something about the look of 3200 and the interior of an old church, or pub (in Ireland the two seem to compete for attention...
) that just works. You get a lot of what I call "long light" there. This is my term for that light you get in the afternoon and early morning that far north. It isn't really that perfect light you seek near sunset/sunrise, but it has a very nice quality to it. Especially since it really looks nice coming in from a window. Living farther south now, I find you don't get that light as much. You just don't see the long patches of light painting part of a room. Look for this light for interiors. It is just amazing to work with.
I would stick with some of the faster emulsions too. You may not get that much light sometimes. That far north things can get dark when the clouds move in. You should be relatively o.k. in the spring, but even then you might want to avoid loading up too much on the 50 and 100. Take some, but in moderation. I remember watching Joanne take a picture in late December outside, at 12:00pm in Newcastle with a little point-and-shoot. It was so dark, the camera set the flash off! Now that was winter, but even in spring a thick layer of clouds can really make things dim.
For color film, take some Velvia or something similar. The green of the hills screams out for a saturated film. So do the towns. Many pubs and houses will have brightly colored (actually it would be coloured...) doors and trim. Good slide film can make those shots.
Oh, and avoid the pochin....
