James, the FM2n is an excellent choice. Be sure to get the FM2n, not the FM2. Learning to use it will be a snap, leaving you to focus on the more important stuff like exposure and composition. The 35-105 lens you mentioned is not a real strong performer in the Nikon line-up. The 28-105 is well-regarded and an excellent alternative and gives you an increased wide end. The 50/1.4 a is very good choice, as is a 28/2.8 despite the redundancy in focal length. The 28/2.8 AIS version is thee manual focus 28mm Nikon to pick-up. Although if you feel the FL's are too redundant, you could always go wider, e.g. 20mm. The beauty of a 28 and 50 prime is the light-weight and increased performance, esp in low-light.

As for accessories, a motordrive (Nikon MD-12) helps immensely with a sure, comfortable and ergo-grip. The Nikon MR-3 is an add-on shutter release button that can be mounted on the MD-12 and provides a more comfortable/steady position to fire the shutter in vertical/portrait orientation. Experimenting with a basic b/w filter set may be desired (e.g. yellow, orange and red). If shooting color film, a polarizer is a must. Carefully consider using step-up rings to mount filters on lenses with smaller filter rings. (Step-up rings are essentially adapters that allow you to use, for example, 77mm filters on a lens with a 52mm ring, such as the 50/1.4. Cumbersome? Perhaps. Inexpensive alternative to buying loads of filters in different sizes? Definitely.) A cable release (Nikon AR-3) is often helpful for slow shutter speeds (or use self-timer) and long exposures. Get a good cable, like the Nikon. Too many junk cable releases out there that fall apart. A solid tripod eventually becomes a 'must' for many. How about a good case to protect your gear?

If you wear glasses a corrective diopter may be in order. I suggest mounting an eyecup to the finder to block extraneous light. I'm partial to the 3V, lithium single cells for two reasons: thay last disproportionately longer (relative to cost) than alkaline and silver oxide batteries and are unfazed by frigid, winter temps. I'm not 'up' on the best literature but Ansel Adams' acclaimed The Negative will absolutely jump-start your understanding of exposure. (Also consider his book, The Print. Others will likely have more reading recommendations. Once you're ready to launch stick with just one film (perhaps two, one slow and one fast in the interest of comparison?) and one developer in order to thoroughly learn the exposure/developing process. No hop-scotching around with a multitude of films/developers. Keep it simple and stay focused on your craft. Careful note-taking at time of exposure, development and printing will hasten the learning. Enjoy!